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The Visual Politics and Narratives of Red Cross Museums in Europe and the United States, 1920s to 2010s
Sönke Kunkel

. The background, a painted canvas, showed a panorama of the destroyed city while in the foreground the drama of relief was illustrated through a three-dimensional model of the hospitals put up to help the wounded. Reflecting the state of the art in the museum world, the exhibit worked with electrical lights to stage and dramatize objects and used stained glass windows designed by Louis Tiffany of New York. In addition, the museum also impressed through large, portentous

Journal of Humanitarian Affairs
Murray Stewart Leith and Duncan Sim

we associate with Pictish stones and early Christianity. But Scotland suffered, first from the Reformation whose Calvinists frowned on much medieval church art and this resulted in the loss of a lot of early stained glass and paintings. Second, the Union of the Crowns led to a loss of royal patronage and so it was not perhaps until the eighteenth century that a more recent distinctive Scottish art began to appear. Painters from that period, such as Allan Ramsay, Henry Raeburn and David Wilkie, were essentially portrait painters, often commissioned to record

in Scotland