landscape and remembrance:

Question:

How can the use of landscape photography and other art forms act as a way of marking a location as a place of remembrance?

Introduction:

Remembrance is an interesting topic to talk about.

It's such a powerful yet almost vulnerable emotion. It's a time of reflection and memory, a time to feel sombre, and a feeling often associated with loss and mourning.

Most people will only participate in one day of national remembrance, which serves as a time of respect and gratitude but ultimately pays tribute to those who gave their lives to protect and defend the country's and Commonwealth's freedom, also making a sacrifice to protect people back home and future generations.

This day marks the commemoration of soldiers who took part in wars, starting with the First World War, all the way to modern wars, too, like Afghanistan and Iraq, but also remembering the civilian casualties who were caused by conflicts.

This day of remembrance, also known as Armistice Day, is always held on November 11th. At 11 a.m., silence is the only thing heard throughout the country. This tradition has been going on for over 100 years. These Remembrance Day services are held in cities, towns, and villages across the commonwealth. The main ceremony is televised from the cenotaph in central London. The royal family, politicians, and other groups pay their respects by laying wreaths and participating in a two-minute silence held throughout the country.

We observe this silence to pay our respects and remember the soldiers who fought in these wars and the lives they gave as a great sacrifice. Using silence to show remembrance is something known to everyone, but Artist Jeremy Deller spoke on remembrance and its significance in a 2016 interview with the BBC. He was discussing curating his 2016 performance art piece, ‘Were Here Because Were Here.’ (seen in figure 1)

Figure 1:

This work was created to mark the 100th anniversary of the first day of the battle of the Somme, on which the British forces took fifty-four thousand casualties. The battle will always be regarded as a dark day in British history.

Deller's work involved over two thousand people dressing up in authentic British First World War battle dress and walking among ordinary people in everyday locations, such as bus stations and the central train stations of big cities. The soldiers remained silent until they began to sing the song ‘We Were Here Because We Were Here. ' They ended the song with a loud, ear-chilling scream and returned to complete silence as if nothing had ever happened.

If asked “ what they were doing,” a soldier would hand out a card. On this card was the name of a soldier who died on the first day of the Somme.(seen in figure 2)

Figure 2:

Deller's interactive memorial took over major UK cities like London, Manchester, and Swansea. Some reenactors were placed at train stations used during the First World War, which took troops to the coast of Dover and South Hampton. The troops were then eventually taken on boats to France, where their journey to war began.

In the opening section of the interview, Deller discusses the meaning of remembrance: “Of all the rituals that societies have, I think the commemoration of the dead is the most important, and we have a specific way of commemorating dead warriors.” Deller, J. (2016). Jeremy Deller—We’re Here Because We’re Here (2016). (seen in figure 3) YOUTUBE. https://www.youtube.com/watch?v=uXnr3w74TJs&t=257s

Figure 3:

But how can a landscape act as a place of remembrance for a person?

The idea of landscape and remembrance being linked can be traced back to the pilgrimages made in the early years after the war and journeys made by the families of the dead after the First World War.

Many of these families travelled to France and Belgium to visit memorials and battlefields where this war took place, and this trip acted as a way of remembrance for those who had fallen. King George the Fifth visited where Tyne Cot Cemetery now stands and said, “We can truly say that the whole circuit of the earth is girdled with the graves of our dead. In the course of my pilgrimage, I have many times asked myself whether there can be more potent advocates of peace upon earth through the years to come than this massed multitude of silent witnesses to the desolation of war.” CWGC. (2022). The King’s Pilgrimage (seen in figure 4)

Figure 4:

In ‘Sites of Memory, Sites of Mourning’ by historian Jay Winters, he talks a lot about the toll of the war and discusses the different aspects of remembrance. Whilst speaking on this subject, Winter says, “Remembrance is part of the landscape. Anyone who walks through northern France or Flanders will find traces of the terrible, almost unimaginable, human losses of the war and of efforts to commemorate the fallen.”- Winters, J. (2014:1)

What Winter says here is a point that can be related throughout any piece of work linked to photographing those battle sites that once were. The grounds of these past battles hold the narratives of history within them, telling the stories of those young men who took part in this horrific conflict. Those remnants still litter the fields and towns of France and Belgium today. Their stories are forever ingrained into these landscapes.

With the current climate in the world, it is key to remember where the definition of war changed forever. In the hundred years since the First World War ended, it's hard not to see how history repeats itself. As we look at the current war which is taking place in Ukraine, we can see similarities between the First World War and the current Ukraine- Russia war, such as the use of trench warfare, the sacrifice of the younger generation, and how we honour the dead. Since seeing these trench images, it’s hard not to think about how the landscape will look in the next 100 years. how will the silent witness of the landscape remember the events that took place here (seen in Figure 5- (the First World War images on the left, Ukraine War images on the right)

Figure 5:

How will we remember those who participated in these wars for hundreds of years? Remembrance is an important outlet that connects us to the past, present, and future, and it shows how remembrance can be connected to the landscape.

As time goes on, the people who were involved and experienced these wars will die, but the landscape will be a constant onlooker to what happened on battlefields all over the world. The landscape will always be a witness to what has happened. Through this essay, various artists and theoretical texts ranging from photographers like Chloe Dewe Matthews and Don Mccullin to the theoretical writings of Roland Barthes will be investigated as the link between remembrance and landscape. How do the two have a strong link to each other?

The first focus for this essay is the photographic work of Chloe Dewe Matthews and the writings of Roland Barthes with his work from his book ‘Camera Lucida’.

Section 1:

Chloe Dewe Matthews, a contemporary photographer, has a photographic series called ‘Shot at Dawn’. This series “focuses on the sites at which British, French, and Belgian troops were executed for cowardice and desertion between 1914 and 1918. The series comprises twenty-three photographs, each depicting a location at which the soldiers were shot or held in the period leading up to their execution. All are seasonally accurate and were taken as close as possible to the precise time of day at which the executions occurred.” Matthews, C. D.(2014). Chloe Dewe Matthews- shot at dawn project. (see figure 6)

Figure 6:

The works tells the very emotional stories of different soldiers from the First World War who were shot at dawn for committing crimes or for disobeying orders. This was a common punishment with it being recorded that 306 British and Commonwealth soldiers were shot at dawn.

Her 2014 series is a prime example of how the landscape acts as a form of remembrance for individuals. This whole project is built on saying the names and showing the final locations of these soldiers. The images reflect the cold and sombre mood that would have been felt by these men who were so frightened. She shows their final locations using a singular cold-feeling photograph of their final resting place. (see figure 7)

Figure 7:

The main focus of her project is presenting the viewer with these cold and eerie feeling images to act as the main subject of the image. It is this exact spot she is photographing that acts as this landscape of remembrance of the deaths of these soldiers.

She uses cold-feeling photographs of landscapes with nothing within them in her work. The emptiness of her landscape shots invokes a profound sense of remembrance and memory. This is achieved successfully, as her use of the photograph's emptiness mourns and remembers the dead through human absence.

Using the accompanying text of the work, the emptiness of the image can also make the viewer aware of the historical context within the photographs and, more importantly, the emotional weight of remembrance carried in them. Through the series of photographs, she uses the environment to act as a reflection of the person or people who were executed in these spots.

The University of Oxford interviewed Chloe Dewe Matthews about the environment and its role as a point of remembrance. In the interview, she said, “The effects and the impact of what they were involved with continue, and the landscape is the physical remnants or the only thing that still remains 100 years later.” Matthews, C. D. (2013, July 18). [Interview by University of Oxford].

The landscapes around northern France and Belgium hold many scars from the battle with Allied and Axis bunkers littering the countryside, trench meandering through fields, and the scars covering the landscapes from explosions Pockmarked many of the fields around major battle sites.

Through these remaining remnants from the war, we can link the people who fought and passed through these landscapes during the wars. The crater that marks the battlefields acts as a memory of a once horrific battle that took place. The trenches that bend and weave through fields are a reminder and a reflection of how these men lived their new lives, and the memorials and cemeteries are a constant reminder of the sacrifices made by so many.

It's through these landscapes that we can use these areas to remember the horrific acts that once took place. It's through these same landscapes that remembrance can take place.

Through the themes of remembrance, we are focused on the actual sacrifices made during the First World War. This feeling of remembrance is the key emphasis of the photos. This can be further explored by looking at the writings of the 20th-century philosopher Roland Barthes, especially his writings from his text “Camera Lucida.” In the book Camera Lucida, Barthes discusses the term punctum and the phrase ‘this has been.’ But what do these words mean for him?

For this, we must examine Barthes' writings in Camera Lucida. The book is a breakdown of photography, exploring it through thoughtful explanation.

Figure 8:

In section thirty-nine section Barthes talks about a photograph from 1865 of Lewis Payne who sits in his prison cell where he is waiting to be hung for the attempted assassination of tried to assassinate Secretary of State W. H. Seward. Alexander Gardner. (seen in figure 8) Barthes comments on the photograph and goes on to say “The photograph is handsome, as is the boy: that is the stadium. But the punctum is: that he is going to die. I read at the same time: This will be and this has been; I observe with horror an anterior future of which death is the stake.” Barthes, R. (1981) 39:96.

Punctum is a theory explored by Barthes about how photographs have a way of connecting with a viewer as said by Jacobson, Q. on studio q “The punctum points to those features of a photograph that seem to produce or convey a meaning without invoking any recognisable symbolic system.” its through this theory and phrase by Barthes that a connection between the landscapes of world war one and the work of Chloe Dewe Matthews works together to convey this message of remembrance through landscape photographs.

Through Barthes's writings, we can take a piece of work from the ‘Shot at Dawn’ series and see what Barthes means within the narrative within the photograph.

Figure 9:

For example, we can take Figure 9 when presented with this image from the series, either in the form of the book or the website or when the work is in an exhibition format. The image has this cold feeling, a sense of loneliness. Still, when the image is presented with a piece of text, for example, for this corresponding image, the text accompanying the image reads “Private Henry Hughes, 05.50/10.4.1918 Klijtebeek stream, Dikkebus, leper, West-Vlaanderen” with the image and text combined links to the theory by Barthes and his theory this has been.

These features are accentuated through the use of text, as with the cold-feeling image. The text provides a much-needed yet haunting context for the already chilling image. After reading this text it's chilling to think about the events that took place in this spot, it's hard to imagine the thoughts and feelings going on through these men who took part in this horrific act, and it's hard to think of how this landscape would have looked then compared to when this series was made.

We can look at this image and think that the original events that happened here are considered the stadium, but the location itself now acts as the punctum. The landscape acts as the vessel of history to tell the story of what happened in this location; the land has scars of wounds from the war running through it. It's through the landscape acting as the punctum that the theory of this will be and this has been.

Barthes's use of talking about the stadium covers many various themes and properties. For example, Barthes wants the viewer to experience the photograph. This is done through his theories on the punctum and stadium of the image, which allows the viewer to see the unconcerned desire and interest between the narrative and the viewer's view of the photograph.

The way the landscapes within the photographs tell the story of the environment we see, how it holds these stories within, and how the history of this location is captured in a way that acts as this gateway of remembrance, linking the theme and subject of the work to the contemporary photography of Chloe Dewe Matthews.

Section 2:

Continuing with this investigation into how landscapes can be used as a place of remembrance, we examine the work of British photographer Don Mccullin. His black-and-white images capture landscapes in a moody and dramatic way, especially one of his works, “The Road to the Somme.”

Figure 10:

Figure 10 illustrates the winding main road utilised during the First World War, connecting to and from the Somme region in France, set against a dark, moody sky in the backdrop.

This is much newer work from McCullin than his early career as a combat photographer during the Vietnam War, which earned him recognition for his dramatic and raw imagery of the war.

Although most of his work is war photography, it is interesting to see his work with the focus of conflict still present but in a much more subtle way.

But by taking these constructed photographs, he can have these stories and narratives be part of the photograph; he uses the picture which looks at the past and acts as a way to remember the war and the events that happened here, the soldiers that march this road to their death and then many that came back on this road with the trauma of war still fresh and present on their minds.

Don McCullin has a beautiful way of photographing landscapes, allowing the eerie-looking landscape to act as the main character/ subject of the photograph. However, many factors of how this image is taken can help with the links to remembrance. He uses the perspective of the shot with the higher angle; the image is not shot from the eye line perspective of a person looking onto this scene; instead, it's done from a slightly more elevated position to show a wider view of the landscape by doing this it makes the landscape to appear more vast and sprawling. The title of the image creates a colder feel in the photograph, giving a much more sombre note to the photograph that the viewer sees.

Black-and-white photography allows the viewer to focus on the emotions of the photograph by stripping away the colour. This almost enhances the emotional impact through its timeless quality, maintained by using black-and-white and the topics and themes within the photograph. Therefore, the picture enhances its narrative aspects of historical reflection, which in turn evokes the feeling of remembrance.

The use of negative space in the image brings this sense of silence and peace to the image where only the wind would rip through the rolling hills and that would be the only sound but the negative space can also evoke the sense of emptiness and loss of the war. The negative space in the photographs represents the absence of countless lives lost during the conflict seen all over the Somme.

The techniques let the viewer contemplate the vastness of the sacrifices made by these men in the harsh and brutal fighting on the Somme. The use of negative space in the photograph reinforces the importance of remembrance.

The various techniques McCullin uses to create these dark and brooding landscapes can be seen in many photographs from his photographic career. His landscape photos, ranging from the Somme to those taken near his home, evoke an eerie atmosphere. Each black-and-white image invites viewers to create their own narratives inspired by the scenes. (See Figures 11, 12, and 13)

Figure 11:

Figure 12:

Figure 13:

In the photograph "The Road to the Somme, Don McCullin's images are significantly linked to Roland Barthes' writings. In Barth's book Camera Lucida, he talks about the theory of “that has been” and the meaning of this term, which was explored previously within this text but can be explored to a greater degree.

When looking into Barthes's theory of “that has been,” Barthes talks about how this theory is more often linked to a person as the subject However, upon further investigation, Barthes's writings can also be connected to the photograph “The Road to the Somme.” Barthes's theory also connects to landscapes, emphasising themes of death, tragedy, and the reality of the past.

In an extract by Artdoc Photography magazine in an extract taking about Barthes's work with punctum through the extract they explore how Barthes links photographs of death to those of his own thoughts of his mother and how “When he sees his mother on the photograph, he is aware of the fact that she is going to die, and that, of course, is exactly what separates him from her: her death. This, in turn, is the fateful consequence of time.” - Artdoc, W. by. (2024.). Roland Barthes The Eidos of photography

In this connection made in this essay, there is a deeper explanation for the theory of punctum if we investigate further, as through Barthe's writings, we can see the much more intricate details about what he means by successfully using punctum, as “what strikes Barthes most about photography. It is the witness of the absolute moment. The punctum appears as a painful stab, a satori that binds the viewer to the eidos of the photograph directly and without fuss.” - Artdoc, W. by. (2024). Roland Barthes The Eidos of photography The punctum is the key tool for allowing remembrance, and landscapes act as an outlet for the landscape being a place of remembrance to those who fell in war.

Through Barthes, theatrical theories on photography are such a crucial way for the real meanings behind photographs, as in the work of both Chloe Dewe Matthews and Don mccullin. They both use their work of photographing landscapes of First World War environments to document the relationships between a landscape and its links to death, sacrifice, and, ultimately, the remembrance of those who were here at these locations. It's a powerful way of documenting these places with a rich but dark history. It is a way of remembering those who fought in this awful conflict not by showing the apparent remnants of war like corroding bunkers, the mass graveyards littering the fields of France and Belgium, and the winding trenches networks of the front, but through documenting the everyday landscapes of France and Belgium we still get this wave of emotions of remembrance and memory which is attached to the images, the titles and the meaning of the images.

Section 3:

This investigative piece has focused on the photographic side of using landscape to examine remembrance, but what about the use of paintings?

During the Great War, many artists emerged as they documented the horrors of war. This period in art history was a time when conflict art was changing. Gone were the days when the victors of these great battles would paint triumphant images of them winning wars, with the image being a grand and detailed painting in which they were presented in oversized grand gold frames. To be celebrated as a massive victory, these paintings were a way of remembering these great battles as a proud day in British history, an almost symbol of glory way for the British empire (See figures 14 and 15)

Figure 14:

Figure 15:

However, during the First World War, conflict art changed forever, as many more people were present at the events that took place during this bloody war. Hundreds of thousands of men saw and told the truth, and there was no hiding what happened.

The glory days of the empire, with their grand paintings, seemed no longer a way of showing the winner of these battles. The reality shift came as art was coming from the perspective of the soldier who took part in this war. Some artists from this time made a massive change to how conflict art was depicted, from the famous painting Gassed by John Singer Sergeant and the work of Christopher R.W. Nevison. (see figures 16 and 17)

Figure 16:

Figure 17:

One painter in particular who focuses on documenting the aftermath of the war is the work of Belgian painter Modest Huys. He is known for his paintings of the Belgian countryside. However, a key painting is “The Remains of the St John Baptist Church at Dikkebus.” an area significantly impacted by the war. Painted after the war, it is a great way to document the early scars left behind by the four-year conflict that ravaged France and Belgium's countryside.

Figure 18:

Through the painting done by Huys, we can see the leftover rubble from a church that once stood here, which now lies in ruins due to the efforts of war. (seen in figure 18)

This interpretation of conflict art is one of intrigue. We see no soldiers, no death, or no apparent connection to a battleground, but the traces of war still echo throughout the painting. Huys paints the remnants of war in a haunting way, as the painting shows the aftermath of the war, showing the scars and remnants of war that haunt this painting.

This painting reminds us of what the war did to the landscape of Europe. It's an eerie reminder of the conflict's aftermath. This piece of art will always be a constant reminder of what happened on the Western Front. Unlike Huyswar paintings, most other war paintings from the First World War were used to show the battleground's current state and the conditions. Much like the work of British Paul Nash, who painted around Flanders fields during the conflict. (seen in figure 19)

Figure 19:

Nash painted from 1916 to 1919, documenting the war through his use of “his outrage at the waste of life expressed through his depiction of the violation of nature in landscapes that were both visionary and terrifyingly realistic.” -Gerry, 2014 word-process essay. He shows the war brutally, showing the destruction of the landscape and how the war changed the structure of the landscape.

Modest Huys's work uses a different style to depict the destruction of the Western Front. Unlike the photographic techniques used by Matthews and McCullin. Huys creates the same effect by using shorter brush strokes to create rough textures, which add to the textures of the damaged church wall. This conveys a sense of decay and abandonment. The use of texture invites the viewer to see the roughness and fragility of the run-ins within the painting.

Painting the aftereffects of war, especially the desolate landscape and barren terrain surrounding the church, almost reflects the desolation and propounding impact that the war had on the landscapes of Belgium. This work archives a real sense of trying to see how the landscape after the battle is already being turned into a place of remembrance whilst the work of more well-known painters, significantly from artists like John Singer Sergeant, Paul Nash, and Alfred Bastien, paint the war from the view of a soldier not from the view of a civilian but also not from the view of the landscape. (see Figure 20).

Figure 20:

Modest Huys's work is linked to Elissa Rosenberg's writings in her essay “The Geography of Memory -Walking as Remembrance.” In it, she explores how “the form of the memorial has been challenged and transformed as a result of this changing discourse, focusing on the particular role that landscape has played in this transformation.” - Rosenberg, E. (2007)—The Geography of memory.

In the essay, she explores the links between landscape and the body, which act as a way to remember the location of these great battles. This point is accentuated further by the quote, “ Place is so evocative in the context of commemoration because it provides a material trace of a past that exists for us only as absence. Thus, the historic site takes on a mythic or even sacred quality as the physical setting of past events. The material authority of the landscape imparts a sense of authenticity to the memorial.”- Rosenberg, E. (2007)—The Geography of memory.

She talks about the importance of how these locations of war and battle hold onto the memories and bloodshed that took place in these landscapes.

The relationship between landscape and remembrance is strengthened. Rosenberg stated, "The landscape itself was an eyewitness to its history, able to offer up a direct link to an otherwise inaccessible past.” By using paintings and photography of these locations, the landscape acts as this primary witness, acting as a portal of remembrance to the soldiers who lived, fought, and died in these locations.

These locations act as the only witnesses to the awful acts that happened here over a hundred years ago; they act as this living remembrance for the men who gave their lives. These landscapes are the final resting place for hundreds of thousands of soldiers. France and Belgium's rolling fields and landscapes are a constant living remembrance of the war.

With the landscape acting in this way, Rosenberg sums it up best by saying, “The landscape itself becomes an instrument of memory.” Despite the many changes in the environment around France and Belgium, the landscape remains constant and still the same ground these soldiers fought on. The landscape acts as a constant reminder of what happened here, a constant reminder of the war, and a continuous way of remembrance for the soldiers.

Conclusion:

In conclusion, how does a landscape really link to the idea of remembrance?

Through this essay, there have been many ways in which the relationship between landscape and remembrance, from the emotionally driven narrative-based project looking at the stories of those who were shot at dawn to the dramatic and cinematic work of Don mccullin and, finally, the painting of the aftermaths of war by Modest Huys.

All of these different art types each have their own way of acting as a way of remembering the First World War.

Chloe Dewe Matthew's work that produces these chilling images of fields, street corners, or even school playgrounds to show these now everyday scenic locations, but what once happened here will echo out and be remembered by the fading church bricks or the cracking coble floor all these elements within the photograph act as this silent witness to the events that took place here. When shot in their present-day tranquillity, the locations are a haunting reminder of the past, which reminds us of the horrors and the sadness of this new age of war. (seen figure 21)

Figure 21:

This work connects landscape and remembrance, curating a strong link through its use of emptiness within the landscapes as a tool for remembering the past.

With the work of Don mcCullin, his use of black-and-white photography is a successful tool to bring in an emotional factor. His use of light and contrast combined with the monochrome use carries this emotional weight into the photograph. The choice of stripping away the colour and working with black and white film with deep shadows allows this sombre and reflective mood to be present within the photograph, emphasising the gravity and intensity of the scenes he captures. (seen in figure 22)

Figure 22:

McCullins work branches the connection between landscape and remembrance. He creates this strong link by playing on the viewer's emotions with his cinematic photography shots that allow the viewer to reflect on the past through these photographs.

The work of Modest Huys. He shows the relationship between landscape and remembrance through his use of contrast. This comes in the form of the ruins of the destroyed church from the war and that of nature and the landscape surrounding the church. The way the contrast breaks crumbling church foundations ruins compared to the surrounding natural landscape. The landscape highlights the resilience of nature through and after the war. This juxtaposition creates this contemplation of the passage of time and how the power of the landscape can bear witness to the memories of war. (seen in figure 18)

Figure 18:

This work is an early reminder of the tolls of war and how the landscape after a war will hold memories of what happened to these grounds.

Overall, landscape and remembrance go hand in hand.

Various artistic techniques and theories clearly show how this relationship is formed and how a landscape can act as a place of remembrance.

The landscapes of northern France and Belgium are rich with memories of war but echo out as constant reminders of what happened in the fields, villages, and towns during the four years of conflict that ripped through Europe.

These landscapes are the only witnesses to what happened here. They bear witness to the horrors of war, the horrors of what men threw at each other during this time. These landscapes are the only survivors of this war, Standing still for over a hundred years and will continue to do so for hundreds more.

These landscapes are where the memories of war are ingrained into these places.

Focusing on the writings of Jay Winters. in extract 4 of his book “Sites of Memory, Sites of Mourning,” he says, “Commemoration was an act of citizenship. To remember was to affirm community, to assert its moral character, and to exclude from its values, groups or individuals that placed it under.” Winters, J. (2014). sites of memory, sites of mourning. Cambridge University Press Cambridge. Remembrance Day will always be held at the same time, in the same way, through silence; this will be held across the commonwealth for hundreds of years to come, but the locations and landscapes that saw these battles will remain.

They act as the voices of the fallen; they act as the storyteller of history, forever retelling the stories and horrors of the war and what happened there. It's through the landscapes of the First World War, such as those at the Somme, Verdun, and Ypres areas. These bloody battlefields will echo the war's history, allowing those of the past, present, and future to reflect on it.

Through these new locations of war like Ukraine, how will their landscape act as a place of remembrance? How will the flattened cities like Mariupol or the zigging and zagging trenches around Bakmhut tell the stories of war in years to come?

Any landscape present during a conflict can act as the storyteller of this palace. These landscapes will always remind us of the war that ravaged Europe, and they will be a constant reminder of these wars for many years to come.

Figure titles:

● Figure 1: Jeremy Deller- were here because we're here (2016)

● Figure 2:Jeremy Deller- were here because we're here (2016)

● Figure 3: Jeremy Deller- were here because we're here- BBC interview (2016)

● Figure 4: unknown -The King pays his respects to his cousin Prince Maurice of Battenburg in Ypres Town Cemetery. (1922)

● Figure 5: Mail online- First World War and Ukraine War comparison shot (2022)

● Figure 6: Chloe dewe Matthews- shot at Dawn (2014)

● Figure 7:Chloe dewe Matthews- shot at Dawn (2014)

● Figure 8: Alexander Gardner- portrait of Lewis Payne (1865)

● Figure 9:Chloe dewe Matthews- shot at Dawn (2014)

● Figure 10: Don mcCullin- road to the Somme (2000)

● Figure 11: Don mcCullin-A farm entrance near my house in Somerset (2008)

● Figure 12: Don mcCullin-The river below my house in Somerset, (2004)

● Figure 13:Don mcCullin-The river below my house in Somerset (mid 1990)

● Figure 14:Robert Alexander Hillingford- Wellington at Waterloo (1815)

● Figure 15: Charles Edwin Fripp-The Battle of Isandlawana (1885)

● Figure 16: John Singer Sergeant- Gassed(1919)

● Figure 17: Christopher R.W. Nevison- Harvest of Battle (1915)

● Figure 18: modest Huys- the remains of the St John Baptist church at Dikkebus (1919)

● Figure 19:Paul nash- spring in the trenches (1917-1918)

● Figure 20:Alfred Bastien- Dressing Station in the Field (1918)

● Figure 21:Chloe dewe Matthews- shot at Dawn (2014)

● Figure 22:Don mcCullin- Stonehenge (2007)

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● Deller, J. (2016). Jeremy Deller - We’re Here Because We’re Here (2016). YOUTUBE. https://www.youtube.com/watch?v=uXnr3w74TJs&t=257s

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