“It is fortunate that I arrived before it was too late to get a real impression. The first day I went over Vimy [Ridge], snow and sleet were falling, and I was able to realize what the soldiers had suffered. If as you and others tell me, there is something of the suffering and heroism of the war in my pictures it is because at that moment the spirit of those who fought and died seemed to linger in the air. Every splintered tree and scarred clod spoke of their sacrifice. Since then, nature has been busy covering up the wounds, and in a few years the last sign of war will have disappeared. To have been able to preserve some memory of what this consecrated corner of the world looked like after the storm is a great privilege and all the reward an artist could hope for.”
[Mary Riter Hamilton, in an interview with Frederick G. Falla, The McClure Newspaper Syndicate for release September 10, 1922]
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Canal, Cambrai, 1920. Oil on commercial canvas board. 21.8 x 26.9 cm.
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Tragedy of War in Dear Old Battered France, ca. 1920. Oil on plywood. 46.1 x 25.9 cm.
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Sanctuary Wood, Flanders, 1920. Oil on plywood. 45.7 x 59.1 cm.
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Dug Out on the Somme, 1919. Oil on cardboard. 35.2 x 44.4 cm.
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Minoterie, Dixmude (German Stronghold), 1920. Oil on cardboard. 19.0 x 23.5cm.
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Dead End, Flanders, 1920. Oil on paper. 18.8 x 23.6 cm.
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The Sadness of the Somme, ca. 1920. Oil on plywood. 46.1 x 59.5 cm.
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The Kemmel Road, Flanders, 1920. Oil on cardboard. 18.9 x 24.0 cm.