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His battle scenes depict cavalry skirmishes, attacks on military convoys and on travellers, depicting those subjects from the Flemish side in the Eighty Years' War and the Thirty Years' War. [ 2 ] [ 5 ] His preferred theme was cavalry engagements and his usual way of representing these was to place a dense cavalry skirmish in a certain area of ...
The Battle of Poitiers in 1356, in a manuscript of Froissart's Chronicles of c. 1410. Military art is art with a military subject matter, regardless of its style or medium. The battle scene is one of the oldest types of art in developed civilizations, as rulers have always been keen to celebrate their victories and intimidate potential opponents.
The scene or variation of scenes passed between the rollers, eliminating the need to showcase and view the panorama in a rotunda. [24] A precursor to "moving" pictures, the moving panorama incorporated music, sound effects and stand-alone cut-outs to create their mobile effect. [12]
A scene from the Bayeux Tapestry depicting Bishop Odo rallying Duke William's army during the Battle of Hastings in 1066. The Bayeux Tapestry [a] is an embroidered cloth nearly 70 metres (230 feet) long and 50 centimetres (20 inches) tall [1] that depicts the events leading up to the Norman Conquest of England in 1066, led by William, Duke of Normandy challenging Harold II, King of England ...
The Alexander Mosaic, also known as the Battle of Issus Mosaic, is a Roman floor mosaic originally from the House of the Faun in Pompeii, Italy.. It is typically dated between c. 120 and BC 100 [1] and depicts a battle between the armies of Alexander the Great and Darius III of Persia. [2]
Peter Snayers or Pieter Snayers [1] (1592–1667) was a Flemish painter known for his panoramic battle scenes, depictions of cavalry skirmishes, attacks on villages, coaches and convoys and hunting scenes. [2] [3] He established his reputation mainly through his topographic battle scenes providing a bird's eye view over the battlefield. [4]
Spring in the Trenches, Ridge Wood, 1917 by Paul Nash.Nash was a war artist in both World War I and World War II. A war artist is an artist either commissioned by a government or publication, or self-motivated, to document first-hand experience of war in any form of illustrative or depictive record.
Film historian Stephen Pendo in Aviation in the Cinema (1985) noted Storm Over the Pacific heavily utilized models to create realistic battle scenes. [3] The special effects were supervised by Eiji Tsuburaya who was renown for his work in numerous 1950s and 1960s Japanese horror and science fiction films. [4]