‘Remembering, we forget’
British art at the Armistice
in The silent morning
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This chapter explores some ethical, theoretical and practical considerations associated with the anticipation, and the creation, of memory in painting at the time of the Armistice in Britain. It also explores the debates which surrounded post-war state patronage of the arts during this last great cultural mobilisation of the 1914-1918 campaign. The chapter argues that two simultaneous debates had to develop hand-in-hand, and then become intertwined, to create a legacy loyal to both the integrity and continuity of British art. The artist's was the voice of reason, of mourning, of value and of permanence, acting as the chronicler for future generations. The first real post-war litmus test of relevance and gravitas came with the opening of The Canadian War Memorial Exhibition at Burlington House. The exhibition would be both a record of war and art.

The silent morning

Culture and memory after the Armistice

Editors: Trudi Tate and Kate Kennedy

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