
We are Making a New World
Splintered stumps and shell craters under a cold sun, and Nash gave it that title on purpose, as an official British war artist.

Splintered stumps and shell craters under a cold sun, and Nash gave it that title on purpose, as an official British war artist.

Ernst made the eaten-away textures by pressing and lifting paint, working on it while fleeing occupied Europe for America.

Bodies lie heaped and bound under a kitchen table, in grey. Picasso left it unfinished, painted after the camps were opened.

A Union jacket lies discarded in the corner while the man who wore it swings a scythe through wheat, which is the whole point.

Hersilia throws herself between the two armies with her arms out. David painted it after the Terror, arguing for reconciliation instead of oaths.

Broken lances lie along the receding lines of a perspective grid. Vasari said Uccello sat up all night muttering about how sweet it was.

The central panel of three, with the Florentine commander charging in a gold-and-scarlet hat on a horse turned like a carousel figure.

A family is tortured in a room too small for it, painted in Germany in 1919 with the war and the revolution just finished.

Seventy meters of wool telling the conquest of England like a strip cartoon. Not a tapestry at all, and probably stitched by English hands.

Tens of thousands of tiny soldiers fight under a sky that curves like the whole earth. Painted while the Ottomans were pressing on Vienna.

The Spanish general stops the defeated Dutchman from kneeling and lays a hand on his shoulder. Spaniards still call the picture The Lances.

Thousands of life-size clay soldiers in battle formation, no two faces alike, guarding an emperor's tomb since 210 BC.

A screaming horse, a mother with her dead child, all in grey. Picasso painted it in weeks after German bombers leveled a Basque town.