Domestic depictions of the soldier
in Images of the army
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This chapter considers the meeting point between the civilian and military worlds. An examination of the representation of the military and civilians in Academy painting in the nineteenth century reveals a marked difference between works produced either side of the dividing era 1854-1865. In tune with the increasingly pervasive bourgeois ideology, domestic representations of the soldier occupied a higher percentage of images in the post-Crimean era. Representations of soldiers and women at the Royal Academy (RA) in the post-Crimean era could not therefore allow any ambiguity surrounding the relation of a soldier to a woman for fear of being thought to allude to prostitution. Military structures and indeed policy were dedicated to the preservation of a rootless, unmarried private soldier. In the pre-Crimean Army it was virtually impossible for a soldier to retain any links with home or community.

Images of the army

The military in British art, 1815-1914

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