But there are turning points, too. The invention of gunpowder, Rabb argues, made war more expensive, destructive, impersonal, and bureaucratized; artists, discovering a new role as “critics of society,” began to turn against it. By the 1930s, “the one-time ally of the warrior, the artist,” had turned to “skepticism, and even antagonism.” European artists were “united in condemnation” of war.
In the fine arts, Rabb writes, that unanimity continues today: Visit an exhibition of contemporary art, and you’re unlikely to see a thrilling, patriotic painting of an American military maneuver in Afghanistan. It’s now only on film, Rabb argues, that you’ll witness artists trying to evoke the stirring battlefield emotions “that have long been tapped by their predecessors in stone, metal, ceramic, cloth, paper, and paint.”