The Daredevil and the Innocent and At The Sublime Edge of Death
- Submitting institution
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Kingston University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 32-14-1660
- Type
- C - Chapter in book
- DOI
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- Book title
- War in the sunshine : the British in Italy 1917-1918
- Publisher
- Estorick Foundation
- ISBN
- 9780956786869
- Open access status
- -
- Month of publication
- -
- Year of publication
- 2017
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- “The Daredevil and the Innocent” and “At The Sublime Edge of Death” are two book chapters by art historian Jonathan Black for the exhibition catalogue War in the Sunshine: The British in Italy, 1917-18 (London: Estorick Foundation, 2017) edited by Estorick Collection Director Roberta Cremoncini. Black also curated the accompanying exhibition of the same name at London’s Estorick Collection (January-March 2017), following the researcher’s proposal in 2015 for the exhibition. War in the Sunshine was based on Black’s research into several British figures who had served in the British Expeditionary Force (BEF), which made a little-known contribution to the Italian war effort against the Austro-Hungarian Empire in WWI. Black’s research focused on the British post-impressionist painter Sydney Carline (1888-1929), whose work had last been exhibited at the Imperial War Museum (IWM) in 1973and not been the focus of a publication since The War Artists (1983) ; and the photographers Ernest Brooks and William Joseph Brunell, much of whose work had not been publicly exhibited before and had last been examined in First World War Photographers (1989). Black conducted research on Carline at the Department of Artat IWM, the Tate Gallery, the Department of Documents at Royal Air Force Museum, Hendon, and a private Carline family archive. He also researched Brooks and Brunell, c. 1917-19, in an archive held by the Photography Department of the IWM, London. This new research proved key in determining the content of Black’s two essays and the two-room exhibition itself; Black located the 26 drawings and paintings Carline made in Italy in 1918 for Gallery I as well as the 50 photographs by Brooks and Brunell at the IWM collection for Gallery II. Black collaborated with Cremoncini on the layout for Gallery I and determined the layout for Gallery II alone.
- Author contribution statement
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- Non-English
- No
- English abstract
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