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https://www.esquire.com/news-politics/news/a39179/five-real-life-horror-stories/

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The deadliest and most destructive war in human history claimed between 40 and 50 million lives, displaced tens of millions of people, and cost more than $1 trillion to prosecute. The financial cost to the United States alone was more than $341 billion (approximately $4.8 trillion when adjusted for inflation). Nearly one-third of homes in Great Britain and Poland were damaged or destroyed, as were roughly one-fifth of those in France, Belgium, the Netherlands, and Yugoslavia. In Germany’s 49 largest cities, nearly 40 percent of homes were seriously damaged or destroyed. In the western Soviet Union, the destruction was even greater.

The human cost of the war can hardly be calculated. Civilian population centres were intentionally targeted by both the Axis and the Allies. Planes of the U.S. Army Air Forcesburned scores of Japanese cities to the ground with incendiary bombs before Hiroshimaand Nagasaki were destroyed with atomic weapons. Japan’s troops in Asia enslaved some 200,000 women to act as sex workers (“comfort women”) and often acted with a general disregard for human life, especially toward prisoners. Unit 731 of the Imperial Japanese Army carried out horrific medical experiments on thousands of prisoners of war and civilians; men and women were subjected to chemical and biological agents and vivisectedto survey the results.

After agreeing to a partition of Poland with Germany, the Soviets slaughtered as many as 20,000 Polish prisoners of war at Katyn. The Molotov-Ribbentrop Pact guaranteed Soviet hegemony over the Baltic states, and tens of thousands of people were killed or unjustly imprisoned after the Soviets invaded Estonia, Latvia, and Lithuania. The troops of the Red Army used mass 🤬 as a terror tactic as they advanced into Germany; using medical records and written requests for abortions as data points, experts estimated 100,000 women were raped in Berlin alone. Claims of war crimes carried out by the Red Army were generally dismissed by the Soviets as Western propaganda, however. When these actions were acknowledged, the Soviets professed that they were justified given the treatment of Soviet civilians by the Wehrmacht and SS troops.

https://www.britannica.com/topic/World-War-II-The-horror-of-war-in-pictures-2147312

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The deadliest and most destructive war in human history claimed between 40 and 50 million lives, displaced tens of millions of people, and cost more than $1 trillion to prosecute. The financial cost to the United States alone was more than $341 billion (approximately $4.8 trillion when adjusted for inflation). Nearly one-third of homes in Great Britain and Poland were damaged or destroyed, as were roughly one-fifth of those in France, Belgium, the Netherlands, and Yugoslavia. In Germany's 49 largest cities, nearly 40 percent of homes were seriously damaged or destroyed. In the western Soviet Union, the destruction was even greater.

The human cost of the war can hardly be calculated. Civilian population centres were intentionally targeted by both the Axis and the Allies. Planes of the U.S. Army Air Forces burned scores of Japanese cities to the ground with incendiary bombs before Hiroshima and Nagasaki were destroyed with atomic weapons. Japan's troops in Asia enslaved some 200,000 women to act as sex workers (" comfort women") and often acted with a general disregard for human life, especially toward prisoners. Unit 731 of the Imperial Japanese Army carried out horrific medical experiments on thousands of prisoners of war and civilians; men and women were subjected to chemical and biological agents and vivisected to survey the results.

After agreeing to a partition of Poland with Germany, the Soviets slaughtered as many as 20,000 Polish prisoners of war at Katyn. The Molotov-Ribbentrop Pact guaranteed Soviet hegemony over the Baltic states, and tens of thousands of people were killed or unjustly imprisoned after the Soviets invaded Estonia, Latvia, and Lithuania. The troops of the Red Army used mass rape as a terror tactic as they advanced into Germany; using medical records and written requests for abortions as data points, experts estimated 100,000 women were raped in Berlin alone. Claims of war crimes carried out by the Red Army were generally dismissed by the Soviets as Western propaganda, however. When these actions were acknowledged, the Soviets professed that they were justified given the treatment of Soviet civilians by the Wehrmacht and SS troops.

The institutional scale of the Third Reich's crimes against humanity makes it clear that the Holocaust was not merely a by-product of the Nazi war effort but a goal in itself. Hitler laid the bureaucratic groundwork for the mass destruction of European Jewry with the T4 Program, a targeted " euthanasia" campaign that sought to purge Germany of the infirm or disabled. These people-who ranged from newborns to the elderly-were deemed nutzlose Esser ("useless eaters") possessing lebensunwerten Lebens ("life unworthy of life"), and they were murdered by the tens of thousands. The T4 Program proved the efficacy of gas chambers as implements of mass murder, and they became a key element of the " final solution" proposed by SS official Reinhard Heydrich at Wannsee on January 20, 1942:

Another possible solution of the problem has now taken the place of emigration, i.e. the evacuation of the Jews to the East, provided that the Führer gives the appropriate approval in advance.

These actions are, however, only to be considered provisional, but practical experience is already being collected which is of the greatest importance in relation to the future final solution of the Jewish question.

Approximately 11 million Jews will be involved in the final solution of the European Jewish question...

It was understood by all attendees that "evacuation of the Jews to the East" was a euphemism for the Vernichtung ("annihilation") of millions of people. That Heydrich, Adolf Eichmann, and the genocidal apparatus they constructed fell short of their goal of "11 million Jews" was due to advancing Allied armies and not to any lack of effort on the part of the Nazis.

Michael Ray

Learn More in these related Britannica articles:

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inflation, in economics, collective increases in the supply of money, in money incomes, or in prices. Inflation is generally thought of as an inordinate rise in the general level of prices. From a theoretical view, at least four basic schemata commonly used in considerations of inflation can be distinguished....

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world war ii: the horror of war in pictures

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World War II: The horror of war in pictures

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The deadliest and most destructive war in human history claimed between 40 and 50 million lives, displaced tens of millions of people, and cost more than $1 trillion to prosecute. The financial cost to the United States alone was more than $341 billion (approximately $4.8 trillion when adjusted for

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Born in Portsmouth, England Riggs is a self-taught artist, both in his traditional painting and in his digital work.[1] He began drawing and painting as early as he can remember.[2] He also attended art school, but he was expelled after complaining about the course.[1] Riggs' most famous achievement is his work with Iron Maiden and his creation of Eddie, the band's mascot and subject of their album and single covers.[3] Riggs' first picture of Eddie was originally entitled "Electric Matthew Says Hello,"[4] and was actually painted for a possible punk cover.[5] Iron Maiden's management came across it while looking through Riggs' portfolio,[6] and asked him to add hair to the figure to make it look less punk-like.[5] The resulting picture was used for the debut album, Iron Maiden, released in 1980, and Riggs went on to work with Iron Maiden throughout the 1980s and into the '90s, creating many of the band's famous album covers.[3] In 1992, however, the band decided to accept contributions from other artists for their next album, Fear of the Dark, resulting in much less input from Riggs in recent years.[7]

Sourced from: https://en.wikipedia.org/wiki/Derek_Riggs

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In 1940 Nash was made an Official War Artist to the Royal Air Force. He made many studies of planes and wrecked enemy aircraft, although he was not allowed to fly in a plane himself because of health problems. His drawings and painting of the period are vivid re-interpretations of the scenes he witnessed. He was particularly interested in the bizarre relationships between man-made and natural forms, and making static objects appear animated. Here the crashed German plane takes on a totem-like presence, accentuated by the strange shadows.

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Paul Nash at Tate Britain: searching for a different angle of vision

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Paul Nash at Tate Britain: searching for a different angle of vision

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From the website that's how the light goes on. I have put the information below about Paul Nash.
if you look at this image it is dark and it is full of the drawing marks, the lines show the image the shadows and highlights it is made with ink chalk and water colour. It is Erie, it looks like pyramids but also unreal. The sand dunes look like waves and I like the way the marks show this.

Paul Nash first discovered Wittenham Clumps, two ‘dome-like hills’ in Oxfordshire with a ‘curiously symmetrical sculptural form’  in 1911. Between 1912 and 1946 he would paint them repeatedly as he sought to encapsulate there and in other places (such as the South Downs and the stone circles of Aylesbury) the idea of a ‘spirit of place’. Yet his engagement with the mystery and magic he found in certain landscapes was only one strand in the rich legacy of work left by Paul Nash. In his time he was official war artist in two world wars, and a pioneering figure at the heart of a group of artists who brought surrealism into British art, a painter who utilised photography, collage and assemblage in pursuit of his vision.

All of these aspects of Paul Nash’s work are explored in depth in Tate Britain’s vast and definitive exhibition which we saw while in London. It is a huge show of more than 160 works which convincingly presents Nash as not only a war artist of great importance, and a pioneering figure of the British avant-garde in the 1930s, but also as a romantic in the tradition of William Blake and Samuel Palmer, who, like them, created visionary landscapes drenched in symbolism and painted as if in a dream.

Entering the exhibition, the first words you see are from a poem written by Nash in 1909 for his friend, Mercia Oakley:

O Dreaming trees, sunk in a swoon of sleep
What have ye seen in these mysterious places?

In this first room, we are presented with a selection of Nash’s earliest work – drawings and watercolours which sometimes place mysterious figures in indefinable landscape settings or explore the dream-like atmosphere of a moonlit night scene. Perhaps reflecting on ‘The Pyramids in the Sea’, done in ink, chalk and watercolour in 1912, Nash spoke of how ‘my love of the monstrous and the magical led me beyond the confines of natural appearances into unreal worlds’.

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Giger was born in 1940 in Chur, the capital city of Graubunden, the largest and easternmost Swiss canton. His father, a pharmacist, viewed art as a "breadless profession" and strongly encouraged him to enter pharmacy. He moved to Zürich in 1962, where he studied architecture and industrial design at the School of Applied Arts until 1970 https://en.wikipedia.org/wiki/H._R._Giger

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What did I hope to achieve
The main theme of my project is horror, which is something I am very interested in. I wanted to use artists who present horrific images to their audience. I chose to use Giger, who I already knew from his work designing the Xenomorph in Alien, as well as Goya whose work I like because it looks like it uses a lot of themes of night, even in scenes like his Carnival. I wanted to use the works of these artists and make them my own, using their images to create my own nightmare world.

What did I create
I created a collage of images by Goya, Giger and other horror-themed artists such as . I used this collage to create a series of monoprint images on clear acetate which I then layered one over the other to make them more confusing but with parts of the underlying images still visible. This helped to create a nightmarish effect that I wanted. I have also experimented with linoprint and used this to make other dark images (such as my skull), to add to the overall effect of the project.

How did I create it
As I have already described, I made my monoprint by using the collage I had created. I did this by rolling black ink out on glass and then placed my image down on this surface and drew over it. This created the distinctive effect of the monoprint, which I was then able to convert to an acetate image and create my own art by layering these over each other in different ways. I made my linoprint by cutting my marks onto lino and using this linework to build up the overall image.

What should I have done
I could have used more of my primary research in my final piece, especially the research around horrors of war. I feel like I could have worked more independently in this project and this might have helped me to have a better idea of how to incorporate all of the themes I wanted into my final piece. I also feel like it might have been good for me to push myself more out of my comfort zone and do more experimentation and more using techniques that I was less aware of already, this would have helped me to develop and show off more skills than I was able to in this project.

What would i do next time if i can do the project again
If I was doing this project again I might experiment more and aim to make more than one collage. One way I could do this would be to make a collage about horror images like the ones I used in the collage I have made and another one that used images that represent the horrors of war (for example). I might also look at other types of horror and think about what makes them unique. I might also try to use other methods to create my work so that it shows a better range of art styles and techniques.

What have I learnt
Doing this project has taught me a lot about areas I need to improve in to be able to work at higher levels. This includes time management, self-organisation and independent research. I feel like being able to use these skills more and plan ahead would help me to have created a final piece that I was happier with and a better final grade. I have learned a lot about using monoprint as a technique but I also have learned that I need to be able to develop my skills to use other methods more confidently as well.

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I am researching on this site
https://www.tate.org.uk/art/artists/paul-nash-1690/paul-nash-war-artist

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At the outbreak of war, Paul Nash enlisted in the army and he was posted to Ypres in Belgium in early 1917, but after an injury from a fall, returned to England a few months later. He was keen to become an official war artist, writing in July that he was '... prompted by an idea and goaded on by John [his brother] from behind...' to enquire about ' ... a permit or a special licence to draw in the 'line' and facility for seeing all the different sectors ...' (IWM: ART/WA1/294/1).

First World War correspondence between Nash and the Ministry of Information reveals how he also gathered influential supporters for his appointment as official war artist.

However, after arriving at the front line in France the letters to his wife Margaret take on a very different tone. By then Nash had seen the devastation of the War. In November 1917 he wrote:

... I am a messenger who will bring back word from the men who are fighting to those who want the war to go on for ever. Feeble, inarticulate will be my message, but it will have a bitter truth, and may it burn their lousy souls.

The IWM Archive also contains Nash's reports about his activities and evidence of the Ministry's efforts to place reproductions of his war work in magazines, ostensibly for propaganda purposes.

The British Artists at the Front was one initiative focused on bringing the work of war artists to a 'middle-class' audience. The series was published by Country Life, and volume 3 was dedicated to Paul Nash.

The work featured on the cover of volume 3 of British Artists at the Front was Nash's painting We are Making a New World. The title mocks the ambitions of the war, as the sun rises on a scene of total desolation. However, this ironic title did not appear anywhere in the publication.

Despite its anti-war sentiment, Nash's war work at this time received a good public and critical reaction. Unlike his contemporary CRW Nevinson, Nash escaped censorship, partly because the official censor did not understand how 'Nash's funny pictures' could give any information to the enemy.

We are Making a New World was the most acclaimed work in Nash's 1918 exhibition Void of War. Held at the Leicester Galleries, the works revealed the damage caused to the landscape on the Western Front. Nash equated this destruction of nature with human devastation.

In 1918, Nash was one of several artists commissioned to create a large painting by the British War Memorials Committee for a new scheme to create a grand 'Hall of Remembrance'. It was to be filled with paintings by British artists that were devoted to 'fighting subjects, home subjects and the war at sea and in the air'. Nash produced The Menin Road (1919), which was originally to have been called 'A Flanders Battlefield'.

Official papers relating to the British War Memorials Committee reveal that Nash suggested the following inscription for the painting:

The picture shows a tract of country near Gheluvelt village in the sinister district of 'Tower Hamlets', perhaps the most dreaded and disastrous locality of any area in any of the theatres of War.(IWM: ART/WA1/490-525)

The Hall of Remembrance scheme was intended to provide a permanent artistic memorial to the First World War in Britain. Other artists commissioned included John Singer Sargent, Wyndham Lewis and Stanley Spencer. However, at the end of the First World War the Treasury forced the closure of the scheme, and the paintings were transferred to IWM.

Nash became an official war artist once again in the Second World War, and developed a particular fascination with the idea of aircraft as central characters in the War. This reflected his interest in surrealism, which had developed during the interwar years. In an article written for Vogue in 1942 titled 'The Personality of Planes', he explained his anthropomorphic vision of these machines. Through a placement with the Air Ministry, Nash was able to observe planes up close, both static and taking off from the runway. However, due to his asthma it is likely he never flew himself.

Nash surrounded himself with photographs of these 'beautiful monsters', becoming familiar with the characters of the different British war planes. He also took many photographs of wrecked German aircraft at Cowley dump, which he used as source material for his painting Totes Meer (1940-1). 'Totes Meer' is German for 'Dead Sea'. Nash envisaged the piles of salvaged German aircraft as a sea of dead creatures, which seemed to him to pitch and churn when bathed in moonlight.

Totes Meer also provides a great example of how exploring archival material alongside his paintings can provide a deeper understanding of Nash the artist and the man. With its depiction of defeated Nazi bombers amid the Blitz years, it was intended to boost patriotic sentiment. However, its melancholy air also suggests another more personal interpretation, centring on Nash's relationship with the artist Eileen Agar. The affair had ended some years before the War, but Nash continued correspondence with Agar. His letters in the Tate Archive reveal how Nash likened their love to flight, and the comparison of the end of the relationship with a sea of grounded aircraft is compelling (see Eileen Agar archive, Tate: TGA 8712).

Paul Nash's paintbox and painting equipment

© Tate archive

The Tate Archive is an excellent source of material on Paul Nash, and much of it is available online. Tate holds his letters and papers, which include correspondence with Margaret Nash (c.1894-5 November 1951: reference TGA 8313) and texts written by Nash for catalogues and periodicals on specific war paintings, and on art and war. Tate also makes available online a set of photographs taken by Paul Nash, which he would often use as source material for his paintings (TGA 7050PH).

IWM's War Artist Archive has the official First and Second World War documents and correspondence relating to Nash (ART/WA1/294/1 and 2, ART/WA2/03/043/1 and 2). These can be viewed on microfilm through an IWM Research Room appointment.

Paul Nash is at Tate Britain until 5 March, 2017.

See Paul Nash's work, alongside over 300 objects in People Power: Fighting for Peace from 27 March - a major exhibition at IWM London exploring how peace movements have influenced perceptions of war and conflict.

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The Archival Trail: Paul Nash the war artist | Tate

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At the outbreak of war, Paul Nash enlisted in the army and he was posted to Ypres in Belgium in early 1917, but after an injury from a fall, returned to England a few months later. He was keen to become an official war artist, writing in July that he was '...

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My Drawing of Paul Nashs work of the WW1 Battlefield

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My Drawing of Paul Nashs work of the WW1 Battlefield

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This work is sad about war. I want to draw a skull which will show this place I think it will add to the piece.
I have used pencil as it is grey, war is grey

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I did not want mine the same as the aritist, but i used colours simerla to his to show war and horror. I have used patches of colour like his that he put as the trenches. i put a round shape in to also remind people of the skull that I drawn.

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Paul Nash WW1 Battlefield and my Drawing of his work below

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Paul Nash WW1 Battlefield and my Drawing of his work below

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When you look at his painting you can see the colours of red and orange, this is to me the colour of death heat flame and the sun showing how hot it feels. I think even though the trees are burnt and the land is scared it is a beautiful image. I will paint my version

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I got some horror pictures, cut them out then glued them together as my own horror world and I used images of H.R. Giger artwork I used images of Francisco Goya artwork
then I mono printed it with black ink and a pencil.
You can see in the other pictures I photocopied it on to plastic acetate and arranged, I had to have help with the layout but in the end it was ok, I learnt patience

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I started to college to learn to draw, but i now know how to use acylic paint, mono print Lino print and create sculpture.
I really am good at Mono Printing and find I can use the line to make it look more artistic.
I have made lots of mind maps and decided I want to do my project on horror. Not just normal horror but horror of things.
I want tot look at the war and experiment with drawings and look at research of artist who do horror.
I would like to create print work
i will evaluate my work with an evaluation at the end of the project.