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Stalin’s defectors: how Red Army Soldiers became Hitler’s collaborators, 1941-1945

Following on from Langlois’ depiction of Napoleon’s Egyptian campaign, Vernet’ s paintings of the conquest of Algeria sought to dramatize contemporary events and to justify the commitment of troops to France’s ‘civilizing mission’. Stirring images of war masked the brutal realities of colonial conquest. Although existing trends were sustained, the 1850s also represented a turning point as a result of new technologies affecting the recording and reporting of war, including photography and the electric telegraph, and the woodblock engraving which increased the popularity of newspapers like the Illustrated London News and L’Illustration. The market for pictures of war was considerably enlarged by growing mass literacy and the falling real cost of newspapers. The means of waging war were also being transformed by new technology. Representing (and glorifying) the artillery war fought around Sebastopol in the Crimea, with its trenches, devastated landscapes and tortured soldiers, imposed new challenges on artists. Hornstein has made a major contribution to our appreciation and understanding of an art form frequently ignored by art historians but which was one of the most common forms of representation circulating throughout the 19 century.