Art Archives Spring 2026

ARTINWARANDPEACE CREATIVE FRONTLINES

THE SPRING ISSUE

4 , 5

Roman depictions

6,7

8,9

10,11

12,13 14

Dadaism BANKSY Otto Dix Salvador Dalí Francisco Goya

THEARTS ARCHIVE

Contributing Writers

Amy Zhang (U5)

Annie Whitehead (U5)

Evie Barrand (L6)

Jemma Aron (L6)

Raphaela Black (L6)

Ruhan Wang (L6)

Saffron Weaver (U6)

Flora Milton (U6)

Hannah Graham (U6)

Eva Alderson-Smith (U6)

OUR EDITORS

Any contributions are welcome for our next Spring issue!

Flora Milton

fmilton@lehs.org.uk

Saffron Weaver

sweaver@lehs.org.uk

ALLEGORY OF PEACE AND WAR

The painting Allegory of Peace and War (1776) is an astounding oil on canvas by Pompeo Girolamo Batoni, a leading Roman painter of his day. Batoni often painted grand pieces of works and numerous commissioned portraits for British aristocrats and wealthy young men However, the Allegory of Peace and War was painted of his own initiative to highlight the political climate at the time Around the time Batoni paints his allegorical piece, Europe was frequently involved in conflict - such as the Seven Years’ War (a far-reaching war fought between great powers in Europe) This war would have directly affected Batoni as the British noblemen commissioning his works would have been delayed on their travels on the Grand Tour of Europe. Therefore, Batoni paints the Allegory of Peace and War to mediate growing tensions and his moral message that peace will always triumph conflict to invoke hope for his viewers. We can clearly see this when Mars halts his sword because of the gentle, resisting hand of Peace and her olive branch as a stereotypical symbolism of peace and goodwill. Furthermore, a truly fascinating feature of this painting is the undeniable contrast between a gentle and luminous Peace, and Mars, a brooding figure with bloodshot eyes brimming with inner conflict - perhaps a human reflection of the conflict that has just been undertaken for the past decade, cultivating a sense of empathy in the viewer Moreover, this is highly emphasised by the fluctuating drapery surrounding these two figures, conveying a perception of interconnectedness between them and thus an interconnection between war and peace.

by Amy Zhang

This work is vital for the understanding of the transitional period of 18th century art as Batoni paints this piece at a time when Neoclassicism was emerging, however he brings back to use of older Rococo techniques. For instance, the inclusion of Ancient Greek mythological characters (Mars) and iconography (olive branch) is a core characteristic of Neoclassical artworks Whilst the theatrical nature of the allegory truly represents the underlying essence of many Rococo artworks

This stunning allegorical piece of art by Batoni is a visual representation of the connection between conflict and harmony and how Peace overpowers War repeatedly, fostering a glimpse of hope in the viewer for a harmonious future.

THE CONSEQUENCES OF WAR

by Annie Whitehead

Peter Paul Rubens’ painting ‘The Consequences of War’ (produced between 1638 and 1639), is a response to the Thirty Years’ War that was fought from 1618-1648 This war had complex origins, however desires for political power in Europe contributed to the lengthy conflict The prolonged fighting led to the destruction of many areas of Europe and a widespread famine, before finally in 1648 the Peace of Westphalia brought the war to an end. This artwork was commissioned by Fernando Il de’Medici as Rubens had received a classical education which is made evident through his painting and choice of subjects Rubens’ work is an example of Flemish Baroque painting that pans over various styles such as Italian Renaissance ‘The Consequences of War’ is largely influenced by the works of Michelangelo as the figures depicted in Rubens’ work are evocative of those in Michelangelo’s Last Judgement. The ‘Consequences of War’ is a large painting with figures portraying Mars heading off to battle, and Venus, the goddess of love, trying to stop him in anguish Surrounding Mars are individuals who represent war and peace in an attempt for him to follow their example; Alecto encourages him to continue into battle, whilst Venus is desperately attempting to restrain him, although to no avail. Rubens uses this portrayal to show the futility of love when faced with war. On the left, the allegorical figure of Europe throws her arms up in despair at the prospect of war, whilst on the right the harsh realities of war are displayed through the monsters of Pestilence and Famine These monsters are towering over the terrified people below who are met with the dire consequences of war

Although there are no literal depictions of battle or ruins, Rubens manages to convey the message through the symbolism and exasperation of the subjects For example, Mars is painted with a fierce expression of determination, whilst Alecto’s torch symbolises the relentless nature of war Looking deeper into the painting, we can see Janus at the top left; the two heads facing away from each other mean that the doors to his temple are open, meaning that peace is lost and Mars is bursting out of the temple. Below Mars’ boot we see books being trampled, symbolising the Arts being destroyed by war as humanity is no longer able to expend energy on creating music, writing books and painting artworks These distinctly human traits are being destroyed by war, therefore making humans seem more animallike as we move away from the Arts

As a religious man, Rubens would have seen these pursuits as an act of worship, so by crushing these we would become less spiritual and Rubens’ effective use of composition and vivid colours in this painting entice the viewer and enhances the intensity of the scene A key example of this is Venus, who immediately stands out due to her being one of few individuals painted in light in a largely dark painting. Amidst the chaos and destruction of war, we can see that Venus is placed in the centre as an immortal symbol of love and beauty that Rubens uses to show that all hope is not lost

By Eva Alderson - Smith

HANNAH HÖCH AND RAOUL HAUSMANN DADAISM

How does art react to, and protest against, war?

We can see this through the emergence of the movement Dadaism during World War One. Dadaism spanned from 1916-24 and was a movement with the aim of rejecting war and bourgeois society. It was inherently against the horrors of war and believed that the previous system of logic and reason had failed the world leading to the very tragic war. Therefore, to counter this Dadaists would create ‘anti-art’ that embraced chaos and rejected logic. The name Dadaism itself is nonsense clearly representing their view on logic and reason. A key technique of their art was photomontage as they wanted to challenge what an artist was through the piecing together of easily available readymade. This was spearheaded by artist Raoul Hausmann and Hannah Höch thought to have been inspired by the Cubist collages. Another key aspect of their work was juxtaposition, as they utilised contrast to shock their viewers. Dadaists were constantly concerned with exploring sociopolitical ideas, issues and views. Artists such as Hannah Höch explore their own political views, for example her support of communists in Berlin after World War One and her feminist agenda, within their work as well as often critiqued mechanisation and the capitalist nature of society.

Dadaists following their interest in expressing a sense of chaos and nonsense often utilised satire in their works, softening the blow of their serious messages or supporting them further such as the work ‘Cut with a Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch in Germany’ by Hannah Höch where she ridicules many political figures of the time clearly expressing and supporting her views during the political unrest in Berlin. The way they presented their work was also quite unorthodox as they didn’t sell their work or produce it for money (as that would be art as opposed to anti-art) instead would present their works for free to the public in exhibitions and fairs again commenting on the sense of commercialism and capitalism in society

It was an international movement that was not solely focused on art but also literature and politics, it originated in Cabaret Voltaire, Zürich then spread to New York, Berlin, Paris and more. As it was so widespread it is hard to pinpoint the exact artistic style in fact the movement was characterised more by the message that the ‘anti-art’ created would send Their inherently destructive nature meant the movement could not sustain itself long term as its very success began to consume it. The movement’s ability to outrage and shock the public, a key part of its existence, faded Naturally as the political climate changed, the need for Dada also changed with it giving way to other movement such as Surrealism.

BANKSY Protest art

"A wallisaverybigweapon.It'soneofthenastiestthingsyou canhitsomeonewith"-Banksy

By Evie Barrand, Jemma Aron, Raphaela Black & Ruhan Wang

Banksy is an English based street artist and political activist, whose real name and identity remain unconfirmed He has long used his art to speak up against injustices, war and corruption in politics. For example, on the 8th September 2025, a mural painted by Banksy was uncovered on the walls of the Royal Courts of Justice in London, showing a judge raising a gavel, as though he were to hit a protester, cowering on the floor Banksy has cleverly depicted this right below a security camera looking the other direction, which could be his way of showing the Royal Courts as ‘turning a blind eye’ to the issues at hand. This was painted just days after the reported arrest of around 900 pro-Palestinian protesters across the UK, and after the Royal Court’s decision to reject an appeal by Palestine Action. Despite the work making no reference directly to the events, the symbolism of the mural, and the choice of site, suggest a deeper meaning. The mural was hastily covered up after only 48 hours

RoyalCourtsofJustice:

One of Banksy’s iconic artworks is a depiction of a chimpanzee wearing a sandwich board, which has the title and slogan “Laugh Now, but one day we'll be in charge” printed on it. Despite his expression, Banksy’s monkey is a defiant representative of society’s 'underdogs', who offers us the hopeful message that the oppressive reality of society will someday come to justice. The heavy board, along with the monkey’s slumped shoulders and sunken eyes, suggest that he is oppressed or enslaved, as the work also serves as a social commentary on authority, critiquing how humans treat animals and other "lesser" beings. We really like the piece because at first it seems silly, as Banksy often uses animals, especially monkeys in his works, however on a deeper level he conveys powerful messages to his audiences.

"Art should comfort the disturbed and disturb the comfortable” - Banksy

Another piece of Banksy’s, Heavy Weaponry, depicts a singular elephant made in Banksy’s signature stencil style with a rocket strapped to its back. The entire composition consists of a minimally depicted animal simply strolling forward, heavy with irony The image of the elephant bearing a rocket on its back carries multiple interpretations; presumably, the general message is antimilitary, in line with Banksy’s other works invoking similar imagery Using the elephant in this context is consistent with other famous Banksy works featuring various animals to represent ordinary people or the “masses,” vis-a-vis the establishment and the militaryindustrialist complex Banksy released 4 different originals on canvas featuring his now iconic super rocket Elephant: 2 versions in editions of 10 each in 2000, also featuring a barcode, including the text “London, New York, Bristol”; and 2 more versions were released in 2003, only this time it was simply the elephant either in white or silver. Each colorway was produced as editions of 25.

OTTO DIX

By Flora Milton

Art of the apocalypse: Otto Dix's hellish first world war visions – in pictures

ETCHINGS

Wounded Man ( Autumn 1916, Bapaume) 1924

Otto Dix was a German painter and printmaker best known for his visceral portrayal of World War 1 and its devastating impact In 1924 he produced a series of 50 etchings, Der Krieg (the war), capturing the dehumanising effects of the conflict, with a unique rawness that is rarely seen. Dix served as a soldier in the war and thus has the ability to powerfully deconstruct the romanticised, sanitised versions of the battlefield that was carelessly fed to the public. This series of etchings focuses on varying aspects of the war, from the silent suffering of civilians to the devastation of landscapes. His works therefore stand as a protest to reveal the darker side and capabilities of humanity

The Der Krieg series is inspired by Francisco Goya’s The Disasters of War. Just as Goya’s work served as a timeless indictment of violence, Dix’s etchings are a relentless depiction of the long lasting scars left by WW1 on both soldiers and civilians. The etchings are notable in their technical brilliance, Dix is able to tactically manipulate the medium in order to convert texture and tone, allowing him to capture the harshness of the environment with astounding detail The intricate hatches convey the disarray of the trenches, whilst the juxtaposition between light and dark highlights the contrast between the living and the dead.

In the same period, Dix also created ‘The Match Seller’ (1920) This painting makes a powerful comment on the widening social gap and the absence of communication between classes in post war Germany. Seated on the pavement, the man is identifiable as a veteran of war by his old uniform cap His dark glasses suggest that he has lost his vision, but also unable to see the horrors of ignorance. While attempting to sell matches to the public, the veteran is ignored by those who walk hurriedly past; the artist has elongated the legs of the passers-by, emphasising their able-bodied status. As a further indignity, a dog can be seen urinating on the veteran’s prosthetic limb, emblematic of the Weimar Republic society that has forgotten this soldier’s contribution and sacrifice. The brutal postwar atmosphere is straightforwadly presented in a realistic and blunt manner It even seems as if the painter represents not just two different social classes, but two different societies. The passers-by are mechanic and busy, they are a part of the new system and peace that the soldiers were fighting for The painting makes a compelling and blunt statement that there is not just a gap, but a void between people after the war. The society is dehumanized, mechanical, ignorant and deeply traumatized But worst of all, there is a complete absence of unity.

Following the first World War (1919) Dix moved to Dresden to continue his studies. He started a new series titled ‘ War Cripples’. This painting, also called ‘War Cripples’ was the first in the provocative series, which focused on the taboo and use of satire. The veterans of war are depicted as ruined grotesques, almost machine like figures Each figure bears the savage amputations inflicted by the war, they are seen hobbling on their peg legs or pushed along in wheelchairs. Despite this, the men proudly march the German streets unaware that they are not the glorious heroes they perceive Furthermore, the figural composition recalls the friezes of ancient Greece, often depicting the idealised forms of Classical gods and men. By creating this thematic contrast in War Cripples, Dix forces the German viewer to reconcile the difference between the heroes of old and the heroes of new. In doing so, he creates a scathing indictment of post-war society; he uses the wounded soldiers as a metaphor for the dangers of the country’s national pride.

PAINTINGS

SALVADOR DALÍ

By Saffron Weaver

Dalí’s surreal canvases capture both the cycle of violence created by war and the spiritual harmony that he strived for following this period.

Salvador Dalí was a Spanish Surrealist artist who built a prominent career depicting the unconscious through vivid, dreamlike paintings Born in 1904 in Figueres, he experienced the emotional turmoil that stemmed from the political tension in Spain. As Europe descended into conflict, Dalí’s works shifted into powerful visual metaphors for the social climate and anxiety that he felt.

In ‘Soft Construction with Boiled Beans (Premonition of Civil War)’ (1936), he explored the horrors of war. The monstrous creature in the painting, forcefully grasping onto its own limbs and contorting, creates a sense of violence that reflects the nation fighting against itself This motif stems from Dalí’s own experiences with the civil war; in 1934 (in which his first study of this painting was made), Dalí and his wife Gala were trapped in the middle of an armed uprising by Catalan separatists, prompting them to escape to Paris. The painting was made only 6 months before the conflict began, however Dalí subsequently claimed that he had predicted the war - using this painting as evidence of ‘the prophetic power of his subconscious mind.’

Dalí also depicts boiled beans scattered across the ground below the figure. He stated that the reason he included this was, ‘one could not imagine swallowing all that unconscious meat without the presence of some mealy and melancholy vegetable.’ This has been interpreted as meaning the Spanish citizens had to do their best to deal with the hardships of the war

Despite this, there is also a sense of hope and tradition through the repeated motif of the Catalan sky, which was characteristic of Dalí’s paintings. The beauty of the sky represents hope and freedom, contrasting to the idea presented by the monstrous figure.

Robert Hughes said, "Salvador Dalí appropriated the horizontal thigh of Goya's crouching Saturn for the hybrid monster in the painting Soft Construction with Boiled Beans, ... which—rather than Picasso’s Guernicais the finest single work of visual art inspired by the Spanish Civil War.”

Additionally, Dalí responded to the political state of Europe during World War II through ‘The Face of War’ (1940). This depicts a withered, disembodied head like that of a corpse In its mouth and eyes are more identical faces - this references the never ending cycle of violence and death involved in war as the process seems to be infinite. The snakes encasing the head represent the fear and suffocation that Dalí felt in Europe before he fled to California, where he created this work.

Despite Dalí’s eccentric persona, he experienced a lot of trauma as a result of conflict. His sister was tortured and imprisoned by communist soldiers fighting for the Republic and his good friend, Federico Garcia Lorca, was murdered by a fascist firing squad. His house in Port Lligat was also destroyed in the Spanish Civil War Therefore, war proved to be a very personal topic for Dalí.

After the end of World War II, he searched for spiritual peace upon returning to Spain and to Catholicism After this, he created ‘Christ of Saint John of the Cross’ (1951), depicting a peaceful Christ devoid of nails, blood and a crown of thorns. This represents his newfound sense of peace following the end of the war, Rather than reflecting his subconscious through uncomfortable, confronting images, he instead creates a sense of harmony and peace - showing his spiritual development

FRANCISCO GOYA

By Hannah Graham

Francisco Goya’s El 3 de Mayo 1808 is one of the most powerful artistic reflections on the human cost of war, and remains a work that feels startlingly contemporary in its moral clarity and emotional force Painted 6 years after the scene depicted, in 1814, the work illustrates the execution of Spanish civilians by Napoleon’s troops during the horrific Peninsular War

At the centre of the composition stands a man dressed in white, his arms raised in an unmistakable gesture of both vulnerability and defiance. His illuminated body becomes a symbolic beacon for the spirit of the people caught between oppression and resistance. The harsh lantern light that falls upon him and his fellow captives does more than dramatise the scene, it forces the viewer to confront the humanity of those facing death, making it impossible to turn away from their terror and dignity.

Goya’s contrasting treatment of the soldiers is just as striking, as they are rendered as a faceless and mechanical unit: their backs are turned to us and the harsh vertical lines of their rifles are aligned with chilling precision. They embody the dehumanising machinery of war, as Goya denies them any individuality and instead casts them as rigid instruments being controlled by those holding and in quest of power This heavy contrast to the intense physical and emotional dynamism seen in the human figures they face to execute, underscores the moral imbalance of the scene: the soldiers, a seemingly second focus within this painting, bring to light the act of war that strips people of identity, agency and compassion This painting therefore not only becomes a record of violence, but also a critique of the systems that enable such violence to unfold.

The scattered bodies, the darkened sky and the looming hill that traps the scene in a claustrophobic space further intensifies the sense of despair Yet, on the contrary, Goya’s work also holds a quiet insistence on peace The central figure’s pose has often been compared to that of the crucifixion, therefore suggesting martyrdom but also resilience In this way, the work does more than protest the brutality of conflict, it elevates the victims, giving them a voice that echoes beyond their time I believe this painting resonates today, as through its stark imagery and emotional depth, Goya urges us to remember that peace is not merely the absence of conflict, but the recognition of our shared humanity.

WHAT IS ON RIGHT NOW

Hello! If you have enjoyed our Spring issue on the theme of war and peace, here are a few showson right now that may catch your eye

Artist as Witness: The Impact of War

Russel - Cotes Art Gallery and Museum ( Bournemouth )

25 October 25 - 8 March 26 th th

This thought provoking exhibition explores the importance of the artist as eyewitness, providing insights not only into warfare but also the impact of war on those involved and the communities affected

l Dream ost abularies

aph, London

tober 25 - 21 March 26 st

an engaging group show that uses collage otomontage to question historical narratives otographic truth. It aims to deconstruct and mble images to explore themes of political and erasure

Encounters: Giacometti x Huma Bhabha

Barbican Centre, Barbican, London

Until 24th May 2026

Though separated by decades – Giacometti shaped by postwar Europe and Bhabha by postcolonial trauma and global violence after 9/11 – their works share a profound interest in the aftermath of war and the psychological scars left behind, speaking to the bruised and battered bodies that exist beyond the immediate experience of conflict

7th October 25 - 11th January 26

Featuring a series of vibrant, large-scale images by the duo over the last twenty-five years, exploring themes of hope, fear, religion, corruption and death.