Personnel shortages led the military to enlist more than 300,000 women volunteers during World War II. All of the military services created posters that encouraged women to join up. Thousands were recruited to serve as nurses. But many more chose to enter one of the women’s auxiliaries formed by the services.
Over 150,000 served in the Women’s Army Corps (WAC/WAAC) in jobs ranging from telephone, radio, and teletype operator to cryptographer, medical technician, sheet metal worker, and aircraft mechanic.
The Navy recruited over 80,000 WAVES (Women Accepted for Volunteer Emergency Service). They worked as clerks, secretaries, cryptologists, air traffic controllers, meteorologists, and translators.
The Marine Corps Women’s Reserve, established in February 1943, enrolled 23,000 women during the war.
While the Coast Guard Women’s Reserve enlisted more than 10,000 between 1942 and 1946.
Like some of the wartime posters that encouraged women to the join the industrial workforce, military recruitment posters sometimes offered mixed messages. Prevailing biases regarding gender roles dictated that women not serve in combat roles.
Learn more about this collection: https://fdr.artifacts.archives.gov/advancedsearch/Objects/invno%3AMO%202005.13.17*/images?page=1
Follow along throughout 2024 as we feature more #TheArtOfWar WWII posters from our Digital Artifact Collection.
Tbh it kind of pisses me off when I spend so long, trying to get an artifact and then not even five minutes later I get the same artifact again. Now it wasn’t so bad for the dinosaur egg sense I wouldn’t have to wait for the other dinosaur egg to hatch before being able to donate it, but like I spent so many Omni geodes on treasure trove’s to get the bone flute, and then the next day I got it while fishing.
Mirror case, ivory, the Storming on the Castle of Love, France (Paris), second quarter of the fourteenth century
“The scene is an allegorical representation of an attack on the Castle of Love. Knights attack the Castle of Love 'defended' by women, who ardently receive the knights when they climb over the battlements, above a twin-towered gate house with a portcullis.
The subject of the Siege of the Castle of Love appears frequently on secular ivories in the fourteenth century; the Museum owns two other mirror cases and a casket bearing similar representations. An allegorical siege of the Castle of Love seems to have been frequently enacted during the Middle Ages; the thirteenth century chronicler, Rolandino of Padua, for instance, records a festival in the town of Treviso in 1214 where a castle was built, and defended by the women and girls of the town while being attacked with fruits, perfumes and flowers thrown by the men.
This type of festivity remained popular for several centuries. We know that the marriage of Henry VII's son, Prince Arthur, in 1501, was celebrated with a Masque of the Mount of Love besieged by knights, and a similar pageant took place regularly in Fribourg up until the eighteenth century.”
The blade of the Sankt Annen sword is a classic example of a sword of war that was very popular by the end of the 13th Century and throughout most of the 14th Century. These powerful weapons were optimized for devastating cuts in swift and exact maneuvers. Their outline may suggest a heavy and pondersous heft, but the balance can be both lively and agile. The Sankt Annen sword is a great example of the character and quality you find in the finest examples of the type.
The blade of the Sankt Annen sword is shaped to combine a lively feel with surprising rigidity that together provide superior cutting capabilities. Like many other swords of this type the blade has an octagonal cross section. This design allows the edge bevels to meet at an angle that is an optimal combination of sharpness and resilience. The shallow fuller stops halfway down the blade followed by a low midrib that runs to the point. We have worked hard to emulate the subtly curved profile and the slightly softened but precise grind of the original.
The pommel is a deep type J that is made partially hollow just like the original. It is not circular but slightly squashed in outline with a flat base towards the grip. On the top is a high pyramid-shaped rivet block that is decorated with filed lines. On each face of the pommel is stamped a small cross. It is evident that the original pommel was forged by a masterful craftsman who could work at speed and yet produce an object of seemingly simple but subtle beauty.
The guard is of style 2 forged into a slight curve. The arms have an octagonal section that gradually blends into a rectangular section in the middle. At first glance the guard may look simple, but it takes considerate skill to make such a guard with the correct form and proportions.
The overall proportions of the sword and all major elements of its design can be defined by a simple geometric layout and it seems it was originally designed by a master of the craft who had a deep insight into the the high medieval design traditions that were shared among architects, engineers and artists of the period. The proportion between hilt and blade is exactly 1:4 and can be defined by a series of 9 interlocked circles, placing the guard at the periphery of the first circle. The proportions of the hilt components and the width of the blade are all defined by a small number of geometric constructions following the principle of the golden section.
I’m pleased to announce that I have donated my drawing „The Face of War” to the Book Art Museum in Łódź as part of their permanent collection 😊 This is my first artwork to be permanently kept in a museum and I’d like to once again thank Ania Gilmore for inviting me to the „Freedom Project” exhibition 😊 Many thanks to Jadwiga Tryzno for organising the event.
Moi Drodzy,
Z przyjemnością ogłaszam iż przekazałam swoją pracę „Oblicze Wojny” do Muzeum Książki Artystycznej w Łodzi. To jest moja pierwsza praca, która będzie się znajdować w stałej kolekcji muzealnej. Chciałabym ponownie podziękować Ani Gilmore za zaproszenie do wzięcia udziału w wystawie „Freedom Project”. Dziękuję również Pani Jadwidze Tryzno za zorganizowanie tejże wystawy. 😊
Discover the Arts of Asia and the Islamic World in this Profound New Exhibition
Cross section of works in Across Asia: Arts of Asia and the Islamic World at the Walters Art Museum
Across Asia: Arts of Asia and the Islamic World, a profound new exhibition at the Walters Art Museum, provides an in-depth look at the interconnectedness of the arts of Asia and the Islamic World and the influences of Europe and Africa.
BY KAZEEM ADELEKE, ARTCENTRON
Namikawa Sosuke (Japanese,…
Roses are red, violets are blue... have some Valentine's Day cards, from JSTOR to you! 💌 Each card features a lovely image from Artstor on JSTOR.
Images courtesy of Wellcome Collection and The Metropolitan Museum of Art.
“MANY HISTORICAL GAPS STILL OPEN,” Montreal Gazette. January 14, 1933. Page 3.
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Value of Old Letters and Documents Shown by Mrs. F. C. Warren
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PUBLIC CAN LEND AID
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Work Effected by McCord National Museum in Preserving Records of Canada Explained by Curator
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Those who are fortunate enough to have chronicles of past times in the form of letters or documents, no matter how trivial they may seem to the possessors, were urged not to destroy them by Mrs. F. C. Warren, assistant curator of the McCord National Museum, in an address on the museum given over Station CKAC last evening, under the auspices of the McGill Graduates Society.
It was the object of the McCord Museum, Mrs. Warren explained, to have a collection which would give posterity a coherent picture of every period of Canadian history. In many instances yet, however, there were great gaps in the material possessed by the museum gaps which might be filled by individuals having old documents which were worth little to them but could be of inestimable service in rounding out a historical collection.
"Sometimes a paper or pamphlet which gives the key to a motive or an action , of the time is thrown away and can never be replaced. The university makes itself responsible for the records giving a truthful story of the life of our country," she stated.
Among the treasures now housed in the McCord Museum, which Mrs. Warren described, were one of the first real estate records of this city. executed when Montreal was 23 years old; Wolfe's diary with his own words written by himself about the siege of Quebec; the keys to the farm of James McGill, founder of McGill University.
"Carefully protected in drawer after drawer in the museum a-e stored articles, documents, costumes and portraits which are waiting to illustrate some crisis in Canadian history or show the gradual development in art or industry," Mrs. Warren stated. “Perhaps in some more fortunate time, space may be added to the museum whereby whole rooms may be given up to the environment of one century."
The next radio broadcast sponsored by the Graduates' Society will be on Monday at 8.30 p.m.. when Dean Ira MacKay, of the faculty of arts, will speak on "The Vocation of a Scholar, or From a College Window."
What's most amazing about people who hate that birds are dinosaurs is that, without the discovery of birds being dinosaurs in the 1960s, none of y'all would have ever actually cared about dinosaurs
the history:
dino craze in 1800s. people thought, birds are very similar to these guys. Dollo fucked it up, made a bad theory, and people stopped thinking that
Early 1900s, dinosaurs deemed sluggish, stupid, pointless evolutionary failures. most people not really into dinosaurs anymore. this continues until
from the 60s through the 70s, a slow buildup of dinosaur culture - both in crappy stop motion movies, but also in children's books and other media
80s cladistics revolution shows birds are living dinosaurs, though not without flaws. documentary after documentary is made, causing the major dinosaur boom of the late 80s and early 90s
the peak of this boom are the A&E and PBS documentaries, which both outright state birds are dinosaurs
cartoons like land before time and other dinosaur content keep coming out too, especially at the end of the 80s and the earliest 90s
the book jurassic park, referencing the birds are dinosaurs thing, is written in the late 80s. in the early 90s, is adapted into one of the greatest blockbusters of all time. now dinosaur interest is MAINSTREAM.
jurassic park isn't the start of the dinosaur boom, it is the apex
90s becomes the decade of dinosaurs, with tons of new discoveries, television shows, documentaries, and other programming
1996 first feathered "nonavian" dinosaur discovered. birds are dinosaurs is the closest thing we have to proven phylogenetic fact
1999 walking with dinosaurs premieres, revolutionizing the dinosaur-documentary genre.
early 2000s becomes the age of Period-Type Dino-Docu-Dramas
velociraptor is determined to have feathers
suddenly, dinosaur mania starts to die in the later 2000s
even though discoveries keep happening and we learn so much in the 2010s, the 2010s becomes a very regressive time - a sort of reactionary response to the birdification of dinosaurs and the dinosaurification of birds. the height of this is jurassic world
we may be in the middle of a dino-docu-drama revitilization thanks to prehistoric planet. stay tuned on that one
like, everyone was fine with the birdification of dinosaurs up and until they looked "feminine" on the outside, because of feathers.
It's just all such transparent misogyny and homophobia and people who react against feathered dinosaurs or birds being dinosaurs are just... so transparently parroting conservative talking points
Anyways, yeah. without birds are dinosaurs, you wouldn't have jurassic park. Sooooo