The War Artists' Advisory Committee (WAAC) were responsible for the production of some of the most iconic images of the Second World War. Despite its rich historical value, this collection has been poorly utilised by historians and hasn't been subjected to the levels of analysis afforded to other forms of wartime culture. This innovative study addresses this gap by bringing official war art into dialogue with the social, economic and military histories of the Second World War. Rebecca Searle explores the tensions between the documentarist and propagandistic roles of the WAAC in their representation of aerial warfare in the battle for production, the Battle of Britain, the Blitz and the bombing of Germany. Her analyses demonstrate that whilst there was a strong correlation between war art and propaganda, the WAAC depicted many aspects of experience that were absent from wartime propaganda, such as class divisions within the services, gendered hierarchies within industries, civilian death and the true nature of the bombing of Germany. In addition, she shows that propagandistic constructions were not entirely separate from lived experience, but reflected experience and shaped the way that individuals made sense of the war. Accessibly written, highly illustrated and packed with valuable examples of the use of war art as historical source, this book will enhance our understanding of the social and cultural history of Britain during the Second World War.

This thesis examines how artists working for the War Artists' Advisory Committee (WAAC) represented aerial warfare. In contrast to the scholarly attention lavished on wartime films and posters, official war art remains a much neglected aspect of the propaganda war. The few studies that do exist, most notably by Brian Foss, survey the collection as a whole and consider it from an art history perspective. By focusing on the single theme of aviation, a central and defining experience of the Second World War, I embed the WAAC within the economic, social, military and cultural histories of the period and locate it within a longer time frame. Through bringing these usually disparate fields of study into dialogue, I am able to use the art to enrich broader understandings of the period, in particular, the ways in which aerial warfare was represented, how this image evolved during the war and how these cultural products related to economic, military and social factors. This thesis highlights the different roles the WAAC was expected to fulfil. Housed within the Ministry of Information, the WAAC was expected to perform a propagandist function. The committee distanced itself from propaganda and insisted that its primary function was to record for posterity the experience of living through the war. I assess exactly what kind of record the WAAC bequeathed by looking thematically at the key aspects of aerial warfare: aircraft production; the Battle of Britain; the Blitz and the bombing of Germany. I argue that whilst there was broad correlation between war art and propaganda, these images registered aspects of experience that were incongruent with and therefore absent from wartime propaganda, such as the fear of aerial bombardment and the true nature of the bombing of Germany. Moreover, propagandist constructions were not entirely separate to lived experience, rather they both reflected experience and shaped the way that individuals understood and made sense of the world around them. Therefore, in producing images that accorded with propagandist portrayals, the WAAC artists were recording a fundamental part of the experience of living through the war.

As well as the open propaganda of the British Government produced during the Second World War, like the foreign language radio broadcasts of the BBC and the aerial propaganda leaflets dropped by the RAF over Occupied Europe, a secret underground propaganda battle was also fought. ‘The Black Art’ documents this history of Britain’s clandestine psychological warfare conducted against the Nazi’s Third Reich. This black propaganda was the work of several secret intelligence organisations including the Political Warfare Executive and Special Operations Executive. Using previously undiscovered primary source material ‘The Black Art’ charts the progress of and catalogues the range of propaganda leaflets covertly distributed across Occupied Europe and beyond to subvert the morale of German soldiers and civilians. The propaganda included such ruses as malingering instructions to fake the symptoms of illness, tips for desertion to neutral countries, parody postage stamps, advice on sabotaging a U-boat, counterfeit ration coupons, identity documents and newspapers plus numerous other falsely attributed leaflets and stickers. Over 350 illustrations are included.

In WW2 information leaflets and posters proliferated. Soldiers were bombarded with Field Regulations, airmen with the latest updates about airborne early warning, bomb sights and radio navigation and sailors with material that helped them identify enemy aircraft and submarines and told them how to operate the new ship board weapons to destroy them.??An abundance of familiar slogans exhorted the population to do the utmost: 'Go To IT!', 'Come Into The Factories', 'Keep Calm and Carry On', 'Dig For Victory', 'Lend A Hand on the Land', 'Walk When You Can'. Other messages warned of the consequences of irresponsible behaviour: 'Careless Talk Cost Lives', 'Loose Lips Sink Ships', 'Keep It Under Your Hat' and 'Be Like Dad, Keep Mum', the latter illustrating just how much social mores have, thankfully, changed in the last 75 years.??This book is concerned with the plethora of printed ephemera that was designed to educate, instruct, inform and entertain. Such original material can still be bought and is easy to store ‰ÛÒ the posters also often making attractive items for display ‰ÛÒ but as with all other authentic historical material supply is finite and examples of wartime publications in first class condition command a high price. This is the first time a single volume has been dedicated entirely to a long overlooked component of wartime collectables. It is designed to complement books which focus on traditional militaria such as uniforms, equipment and regalia and is intended to reveal just how much material was produced, across the board, by each of the warring nations. It will advise enthusiasts about what was produced, what is still available and where to find it and, importantly, how to conserve and store such vintage printed items.

At the height of the Second World War, Britain's skies were alight with dogfights, and its towns and cities bustling with the manufacturing of aircraft. The distant thunder of Spitfires, Hurricanes and bombers became a recurring sound, and rolling landscapes littered with airfields a familiar sight. As the air war transformed Britain's towns and countryside, it also ignited the imaginations of artists. The Air War in Paintings reveals how the artists of the 1940s responded to the unfolding air war in Britain, illuminating their private anxieties, their ambitions and their experiences. Drawing on the Imperial War Museum's unrivalled collection, this richly illustrated book explores how war artists recorded and documented all aspects of the vast efforts to build Britain's air capacity at a crucial time in its history

In this groundbreaking examination of British war art during the Second World War, Brian Foss delves deeply into what art meant to Britain and its people at a time when the nation's very survival was under threat. Foss probes the impact of war art on the relations between art, state patronage, and public interest in art, and he considers how this period of duress affected the trajectory of British Modernism. Supported by some two hundred illustrations and extensive archival research, the book offers the richest, most nuanced view of mid-century art and artists in Britain yet written. The author focuses closely on Sir Kenneth Clark's influential War Artists' Advisory Committee and explores topics ranging from censorship to artists' finances, from the depiction of women as war workers to the contributions of war art to evolving notions of national identity and Britishness. Lively and insightful, the book adds new dimensions to the study of British art and cultural history.