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Ralston Crawford - Air & Space & War (Hardcover)
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Ralston Crawford - Air & Space & War (Hardcover)
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American art underwent a transformation during the period 1940-55,
and nowhere is that change better exemplified than in the work of
Ralston Crawford (1906-1978). Crawford worked in a variety of media
throughout his career, and his wartime and early postwar art ranged
from designing camouflage and creating weather infographics for the
US Army to documenting the detonation of the atomic bomb for
Fortune magazine. This exciting new book explores Crawford's
influences and the ideas and experiences he had during World War II
and its aftermath, and chronicles a period of change, during which
Crawford gradually moved away from celebrating feats of engineering
and industrial development to creating imagery that was more
abstract and far more personal, expressing the grief and anxiety of
the postwar world. Crawford's painting during the 1930s had largely
been a dazzling series of Precisionist works that reflected
American advances in industry, engineering and technology. After
the United States entered World War II, Crawford served in the
Weather Division of the Army Air Forces. He created pictorial
representations of weather patterns for airplane pilots, and was
exposed to countless photographs of air crashes. He continued
working as an artist throughout the conflict, receiving a
commission to paint the Curtiss-Wright aircraft plant in Buffalo,
New York, and, in 1946, an assignment to observe and record one of
the atomic bomb tests at Bikini Atoll. These experiences had a
profound impact on Crawford, and marked a major turning point in
his life and art. Published to coincide with an exhibition opening
at the Dayton Art Institute, Ralston Crawford: Air & Space
& War presents a remarkable selection of Crawford's paintings,
drawings, photographs and prints from this time. These vary from
powerful images of chaos and devastation to ordered and precise
paintings of airplane assembly at the Curtiss-Wright plant and
cover illustrations and charts related to weather, flight and radar
for Fortune magazine. The evolution of many of the works can be
traced from photograph and drawing to the finished painting,
revealing Crawford's decisions about form and space, which were
informed by his experiences with airplanes and flight. Accompanying
the artworks is a series of perceptive essays. Rick Kinsel
considers Crawford's war years in the context of developments in
both aviation and American art. Emily Schuchardt Navratil reflects
on aerial views by Crawford and on his Curtiss-Wright commission.
Amanda Burdan looks at Crawford's work for Fortune, while Jerry
Smith surveys various American and European abstract renditions of
airplanes and flight as a means by which to place Crawford's
interest in aviation during World War II into a broader historical
context. In the final essay, John Crawford examines the importance
of photography in his father's work, and explores collage as both a
compositional technique and as a term that may be used to describe
the series of intense experiences that contributed to Crawford's
development as an artist in the 1940s and early 1950s.
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