Gallipoli in Art

100 years ago today British, Anzac and French forces landed on the Gallipoli Peninsula opening a new front against the Ottoman Empire.  The campaign quickly became bogged down and eight long months were spent capturing just ~5 miles of ground failing in the operation’s objectives utterly.  Despite this the gallantry of the men who fought there cannot be denied and some of the war art above captures the scale, determination and desperateness of the fighting. 

The Landing at Anzac, April 25, 1915, by Charles Dixon (source)

Anzac, the landing 1915, by George Lambert (source)

The Gallipoli Landing, by Charles Dixon (source)

Battle of Sari Bair, by Terence Cuneo (source)

The Taking of Lone Pine, by Fred Leist (source)

The Charge of the 3rd Light Horse Brigade at the Nek, 7 August 1915, George Lambert (source)

The Battle of Chunuk Bair, 8 August 1915, by Ion Brown (source)



- Estoy participando en un concurso de fotografia n.n y quisiera pedirle una ayudita *-*

- Tienen que dar like a esta esta pagina (para poder votar) https://www.facebook.com/exploravalpo?fref=ts

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-No lo olviden HOY POR MI, MAÑANA POR TI (ser que no es asi pero para que se entendiera el mensaje):

Australian official war artists 1916-1918 - George Coates, 1920.

Depicts many Australian official war artists who were attached to different divisions of the AIF during the First World War, in a group portrait. The painting was originally owned by Cyril Steele of Melbourne. It was noted that the painting was considered to be an example of Coates’ work that was a ‘model of well-handled composition’ (see: Art in Australia May 15th 1937, p.40.) The group portrait includes the official War Artists; standing l-r: (Sir) John Longstaff, Charles Bryant, George Lambert, A. Henry Fullwood, James Quinn, Septimus Power, Arthur Streeton, seated back l-r: Will Dyson, Fred Leist, front: George Bell.
George Coates (1869-1930) studied painting under L. Bernard Hall between 1895-96 acquiring both respect for the painter’s craft and the approach of the Munich School. He won a travelling scholarship in 1896 and went to London next year before moving to Paris, where he worked at the Académie Julian and studied under Jean Paul Laurens. In Paris Coates renewed an acquaintance with a fellow art student, Dora Meeson (1869-1955) who later became his wife. Coates and Meeson established themselves in Chelsea, London where they became members of an extensive circle of Australian expatriate artists. Coates established himself as one of London’s leading portrait painters, where he lived until returning to Australia in 1921, and his realism and representational style emphasized a harmonious range of low tones, with a detailed and painstaking approach. (AWM)