-World War I and American Art provides an unprecedented look at the ways in which American artists reacted to the war. Artists took a leading role in chronicling the war, crafting images that influenced public opinion, supported mobilization efforts, and helped to shape how the war's appalling human toll was memorialized. The book brings together paintings, drawings, prints, photographs, posters, and ephemera, spanning the diverse visual culture of the period to tell the story of a crucial turning point in the history of American art---

A collection of full-color artwork from World War One that illustrates the immense destruction and human turmoil of The Great War. World War One raged from 1914 through 1918. Before the advent of modern video and photography, artists documented it using a variety of mediums for newspapers and magazines from the era. Using their imagination and technical skill, these talented illustrators and painters created something beautiful out of something terrible that gives a candid look at one humanity's greatest conflicts. The Art of World War 1 collects more than 100 brilliant pieces from the WW1-era depicting French, British, German, American troops, and more involved in the struggle. Stunning color illustrations from artists like Francois Flameng, Charles Hoffbauer, G. Koch, Georges Scott, Willy Stöwer, and more fill the pages with intimate scenes and epic shots of destruction. Included are prints featuring air combat, soldiers charging, tanks, boats, and the aftermath of battle. Using pens, pencils, paints, and brushes, they captured the action and emotion of The Great War in a way that film could not. In many cases, these brave individuals traveled to the front lines and sketched, drew, and painted what they saw. More than 100 years after its creation, their art is more vivid and impactful today than ever before.

Overturning decades of scholarly orthodoxies, James Fox makes a bold new argument about the First World War's cultural consequences.

Since ancient times, wars have inspired artists and their patrons to commemorate victories. When the United States finally entered World War I, American artists and illustrators were commissioned to paint and draw it. These artists’ commissions, however, were as captains for their patron: the US Army. The eight men—William J. Aylward, Walter J. Duncan, Harvey T. Dunn, George M. Harding, Wallace Morgan, Ernest C. Peixotto, J. Andre Smith, and Harry E. Townsent—arrived in France early in 1918 with the American Expeditionary Forces (AEF). Alfred Emile Cornebise presents here the first comprehensive account of the US Army art program in World War I. The AEF artists saw their role as one of preserving images of the entire aspect of American involvement in a way that photography could not.

Sun Tzu. The art of war. Study of planning and conduct of military operations.

An examination of the psychological literature on victimisation shows disproportionately that that we know more about the predator than we do the victim. Moreover, almost all the literature on the victim is presented from either a reductionistic or cognitive-behavioural point of view. This book examines the psychology of a victim of repeated criminal acts from the existential-humanistic perspective. The method used is the single case study. The subject, currently age 51, a pilot, was the victim of identity theft, extortion, and duress. These crimes, some of which are treated under federal law as violent by their nature or effect, resulted in a large, unrecoverable financial loss, suspension of the pilot's medical certification required to operate aircraft, abrupt termination of his chosen career, a continuing governmental record of being delusional despite overwhelming proof to the contrary, lasting emotional and physical distress, as well as other consequences. Meanwhile, the predator has harmed dozens of individuals, forming a diverse cohort. A life history of the subject is presented as a context for the specific chronology of events defining his victimisation, which is followed by an existential interpretation. Interviews and archival data, including written and audio forms of documentation, have been incorporated into the study. Seven criteria were selected from existential-humanistic psychology that have been applied in the exploration of the behaviour and personality of the victim: (1) the interior life-world of the person; (2) self-actualisation needs vs. adjustment to social norms; (3) meaning through suffering; (4) being in the face of non-being; (5) attitudes toward death and annihilation; (6) dreams, visions, and mythic experience; and (7) existential use of the void. The study found characteristics of the psyche of a particular victim that may have made him vulnerable. These characteristics include: being overly trusting; being under the influence of a hero-rescuer archetype; and being overly reliant on instruments due to training as a pilot. Mainstream psychology has ignored this dimension, which is needed to understand the total person.