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The U.S. Army Art Program or United States Army Combat Art Program is a program created by the United States Army to create artwork for museums and other programs sponsored by the US Army. The collection associated with the program is held by the United States Army Center of Military History, as part of their Museums collection. ==History== The Army's official interest in art originated in World War I when eight artists (see the list at AEF artists) were commissioned as captains in the Corps of Engineers and were sent to Europe to record the activities of the American Expeditionary Forces. At the end of the war most of the team's artwork went to the Smithsonian Institution, which at that time was the custodian of Army historical property and art. There was no Army program for acquiring art during the interwar years, but with the advent of World War II the Corps of Engineers, drawing on its World War I experience, established a War Art Unit in early 1943.〔See also Harrington, Peter. ’The 1943 War Art Program’, ''Army History'' No. 55 (Spring-Summer 2002), 4-19.〕 The Associated American Artists helped the Army recruit artists and the War department established a War Art Advisory Committee, a select group of civilian art experts, who selected artists to work in the program. By the spring of 1943 the committee had selected 42 artists: 23 active duty military and 19 civilians. These artists included Reginald Marsh, Jack Levine, Joe Jones, Mitchell Siporin, Aaron Bohrod, and Henry Vernum Poor.〔 The first artists were sent to the Pacific Ocean theater of World War II, but in May 1943 Congress withdrew funding from the program and the War Art Unit was inactivated. The Army assigned the military artists to other units and released the civilians. The effort to create a visual record of the American military experience in World War II was then taken up by the private sector in two different programs, one by ''Life magazine'' and one by Abbott Laboratories, a large medical supply company. When ''Life'' offered to employ civilian artists as war correspondents, the War Department agreed to provide them the same support already being given to print and film correspondents. Seventeen of nineteen civilians artists who had been selected by the War Art Committee joined ''Life'' as war correspondents. A deal was struck between, then editor of ''Life'', Daniel Longwell and the Secretary of War for the artists to receive the same treatment as news correspondents.〔 Abbott, in coordination with the Army's Office of the Surgeon General, commissioned twelve artists to record the work of the Army Medical Corps. These two programs resulted in a wide range of work by distinguished artists, such as John Steuart Curry,〔James M. Myers, "CAMP BARKELEY," Handbook of Texas Online (http://www.tshaonline.org/handbook/online/articles/qbc02), Uploaded on June 12, 2010. Published by the Texas State Historical Association.〕 who had the opportunity to observe the war firsthand. By the end of World War II the Army had acquired over 2,000 pieces of art. In June 1945 the Army established a Historical Properties Section to maintain and exhibit this collection, thus creating the nucleus of today's Army art Collection. On 7 December 1960, ''Life'' also presented 1,050 works by its own correspondents to the Defense Department, many which the Army later received. In 1947, the Army Art program also assumed custody of 8,000 German war art, created by similar Nazi programs,〔 including four architectural renderings by Adolf Hitler. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「United States Army Art Program」の詳細全文を読む スポンサード リンク
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