But then, there are artists out there who put the actual art first, rather than the focus on weaponry, even if their art actually includes guns and other firearms.

With these ideas in mind, here are a few artists who push things to another level.

Graceland

Graceland’s work has always been interpreted in all kinds of ways. One particular piece of work stands out in the crowd, though. There’s a tiny teddy bear with a rifle, as well as a naked lady, religious elements, and what’s referred to as the Sin City. Simply put, this is all about the human condition.

Most of Graceland’s work takes you to dystopian worlds, as well as societies torn apart by war . A subtle dose of humor adds to the art, making it unique in interpretation.

Roy Lichtenstein

Roy Lichtenstein adopts a different approach when it comes to war art, bringing together elements of magazines and cartoons that everyone’s familiar with. Crak! stands out as a dominant piece of art. Enhanced with text balloons and dots like old school comics, it redefines imagery from World War II.

The artist’s work isn’t all about American heroism, but it also represents a funny approach to the pop age, with war realism somewhere in the background.

Banksy

The anonymous Banksy is one of the most popular artists of today’s society, creating simple, but powerful art that pushes against war and violence. Always choosing a deep subject, the artist adds a unique style and a cheeky wit to his work.

Heavy Weaponry is one of the most significant pieces in terms of war art. Not only is it critical for a warring society, but it also has a bit of humor to put a smile on your face.

The fact that Banksy is anonymous gives him or her the opportunity to express without worrying about the consequences.

Nick Veasey

Nick Veasey is famous for his X-ray art, similar to what you’d get in a hospital. Much of his work involving weaponry includes X ray images of concealed weapons. The artist’s work may seem simple, but he has managed to create an expressive narrative with just a couple of objects and a short story.

Some of his top rated pieces of work include Dagger in My Dior and Chanel Packing Heat, yet his cinematic expressions go further than that.

All the work is based on real guns, the type of guns you could even purchase yourself over the Gunsnprices.com guns search engine.

James Georgopoulos

With lots of art inspired from the motion picture field, James Georgopoulos has taken his multimedia art to a different level. The artist explores ideas behind cinematography, meaning he creates beautiful replicas of firearms used in movies.

Take Allied Invasion, for instance, which describes the pistol used by Captain Tanida. It may seem simple, but it’s the type of art that tells a story.

Schoony

Schoony’s realistic work has a bit of history since he’s an expert in special effects and has worked on the sets of numerous movies. Clash of the Titans and Saving Private Ryan are just a few of them. Most of his art features superior 3D effects, hence his immense popularity.

Boy Soldier came out in 2011 and represents one of his best pieces of art. A child, a grenade, a soldier’s helmet, there are all kinds of elements that give this piece a heavy profile and a deep meaning.

Bran Symondson

Bran Symondson does have a solid background in terms of weaponry. After all, he was part of the UK Special Forces and documented the horrors of war on multiple fronts. Soon after finishing his stage in Afghanistan, he decided to become a full time photographer, working for a local newspaper.

Things went to another level in 2012, when he hosted the AKA Peace exhibition, bringing together artists from all over the world against war. Most of his work is based on love, rather than violence. The exhibition had a massive success, with celebrities from all over the world buying his art.

Bottom line, while art and weaponry do go hand in hand, the truth is art doesn’t have to be a violence. It can be a deep and peaceful element to promote love and peace as well and that’s what the above mentioned artists have managed to do.​

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Early Life and Artistic Beginnings

Julian Onderdonk was born to Robert Jenkins Onderdonk, a renowned Texas artist known for his depictions of the American Southwest, and his wife Emily Gould Onderdonk. Growing up in a family of artists, young Julian was exposed to art from an early age. His father’s dedication to capturing the natural beauty of Texas had a profound influence on the young artist’s development.

At the age of 19, Julian Onderdonk embarked on his formal artistic education at the Art Students League of New York, a prestigious institution known for nurturing emerging talents. He studied under renowned artists William Merritt Chase and Frank Vincent DuMond, both of whom played crucial roles in shaping his artistic style.

Onderdonk’s early works were heavily influenced by the teachings of his mentors and the prevailing American Impressionist movement of the time. He developed a fascination with the effects of light and atmosphere on the landscape, a hallmark of Impressionist art.

The Texas Bluebonnet Series

Julian Onderdonk’s artistic career reached a turning point when he returned to his native San Antonio in 1909. It was during this time that he embarked on what would become his most iconic and celebrated series of paintings – the Texas Bluebonnet series. These works are a testament to Onderdonk’s deep connection with the Texas Hill Country and his ability to capture its essence with remarkable skill.

The Texas Bluebonnet series primarily features fields of vibrant bluebonnets, the state flower of Texas, set against the backdrop of the Hill Country’s undulating hills and clear blue skies. Onderdonk’s mastery of color and light is evident in these paintings, as he expertly conveys the interplay of sunlight on the landscape, creating an ethereal and almost dreamlike quality in his works.

One of the most renowned pieces from this series is “Bluebonnet Landscape.” This painting, with its striking blue and green hues, is an exemplar of Onderdonk’s ability to infuse his canvases with a sense of tranquility and natural beauty. It remains an enduring symbol of the Texas Hill Country’s allure.

Technique and Style

Julian Onderdonk’s artistic technique and style set him apart as a luminary of American Impressionism. His work is characterized by several distinctive features:

1. Luminosity: Onderdonk had an exceptional ability to capture the brilliance of natural light in his paintings. He employed a delicate and layered technique, using thin washes of paint to create a luminous effect that bathed his landscapes in a soft, radiant glow.

2. Color Palette: The artist’s choice of colors was a defining element of his style. His use of blues, greens, and purples to depict the Texas Hill Country’s flora and landscapes is particularly noteworthy. Onderdonk’s color palette conveyed a sense of harmony and serenity that resonated deeply with viewers.

3. Brushwork: Onderdonk’s brushwork was expressive yet controlled. He combined loose, impressionistic strokes with finer details to create a sense of depth and texture. This technique allowed his paintings to convey both the immediacy of the scene and a sense of timelessness.

4. Atmosphere and Mood: Beyond mere visual representation, Onderdonk’s paintings exude a sense of atmosphere and mood. His landscapes often evoke a feeling of tranquility and contemplation, inviting viewers to immerse themselves in the scenery.

Recognition and Legacy

Julian Onderdonk’s contributions to American Impressionism and his dedication to depicting the Texas Hill Country earned him recognition and acclaim during his lifetime. He exhibited his works in prestigious venues such as the National Academy of Design and the Pennsylvania Academy of the Fine Arts. His art resonated with audiences, and his paintings found their way into private collections and museums.

Tragically, Julian Onderdonk’s life was cut short at the age of 40 when he succumbed to pneumonia in 1922. Despite his relatively brief career, his impact on the art world, particularly in Texas, endures to this day. His legacy is celebrated through museums, galleries, and institutions dedicated to preserving and showcasing his work.

The San Antonio Art League Museum houses a significant collection of Onderdonk’s paintings, providing visitors with the opportunity to appreciate the artist’s profound connection to the Texas Hill Country. Additionally, the Witte Museum in San Antonio features an extensive exhibit dedicated to Onderdonk’s life and work, allowing art enthusiasts to delve into the artist’s creative journey and his lasting impact on the region’s artistic heritage.

Contemporary Influence

Julian Onderdonk’s influence extends beyond his own time, with contemporary artists finding inspiration in his works and the landscapes he celebrated. The Texas Hill Country continues to attract artists who seek to capture its captivating beauty on canvas.

Artists like David Caton and Margie Crisp have drawn from Onderdonk’s legacy and the Texas Bluebonnet series in their own creations. They pay homage to his ability to convey the unique allure of the region and its natural splendor.

Conclusion

Julian Onderdonk’s artistic legacy is inseparable from the Texas Hill Country. His ability to capture the essence of this remarkable landscape through his luminous and impressionistic paintings has left an indelible mark on American art. His Texas Bluebonnet series, in particular, stands as a testament to his mastery of color, light, and atmosphere.

As we admire Onderdonk’s works today, we are transported to a world where the Texas Hill Country’s rolling hills and wildflowers come alive on canvas. Julian Onderdonk’s enduring influence serves as a reminder of the power of art to connect us with the natural world and the cultural heritage of a place. In the heart of Texas, his paintings continue to kindle a sense of wonder and appreciation for the timeless beauty of the Hill Country he so masterfully depicted.

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From 1949-1951, he served as chairman of the art department at the University of Texas at Austin, became a professor of art in 1954, and served as director of the Graduate Studio of Art from 1961-74. In 1974, he retired as a professor emeritus and was recognized as one of the outstanding artists of Texas.

His work has been exhibited nationally and internationally, including the Texas Centennial Exhibition Dallas, Museum of Fine Arts, Annual Exhibition of Contemporary American Painting, Whitney Museum of American Art New York, Annual Exhibition of American Painting and Sculpture, Art Institute of Chicago, American Painting and Sculpture, Carnegie Institution of Pittsburgh, A Separate Part of the Earth, Pan American Union Washington, DC.

After his retirement from the University of Texas, he was honored with a retrospective exhibition, Selected Paintings and Drawings, 1950-1979. In 1993, he was honored with the exhibition “Companions in Time: Paintings by William Lester and Everett Spruce” at the Laguna Gloria Museum of Art.

Mr. Spruce has won numerous awards, including the Pepsi-Cola Painting of the Year Award, the National Academy of Design of New York, the Scheidt Memorial Award, the 142nd Annual Exhibition of the Pennsylvania Academy of the Fine Arts, the first prize in the exhibition of contemporary American painting, Galerie Giroux Brussels and was selected as the first artist to be featured in the Blaffer Series of Southwestern Art published by the University of Texas Press. He received a Ford Foundation grant retrospective exhibition distributed by the American Federation of Arts of the South, Midwest and West.

His work has been featured in numerous publications, including “Lone Star Regionalism, the Dallas Nine and Their Circle” by Rick Stewart, published by Texas Monthly Press; “Pecos to Rio Grande, Interpretations of Far West Texas by Eighteen Artists”, published by Texas A&M University Press; “The Texas Gulf Coast, Interpretations by Nine Artists, published by Texas A&M University Press, and Art for History’s Sake, The Texas Collection of the Witte Museum by Cecilia Steinfeldt, published by the Texas State Historical Association. In addition, he was honored by a resolution passed by the Texas House of Representatives and signed by then-Governor George W. Bush for his longstanding contributions to the art world and for his exemplary work as an educator.

In addition to being held in numerous private collections, his work is included in many public collections, including the Metropolitan Museum of Art in New York, the Dallas Museum of Fine Arts, the MH DeYoung Museum in San Francisco, the Fort Worth Museum, the Museum of Fine Arts, Houston, and the Marion Kugler Museum of Art, McNay Art Institute of San Antonio, Museum of Modern Art Rio de Janeiro, Museum of Modern Art New York, Phillips Gallery Washington, D.C., Southern Methodist University Dallas, Tulane University, New Orleans, University of Alabama, University of Nebraska, University of Texas at Austin, Whitney Museum of American Art New York, and the Whitney Memorial Museum San Antonio.

Mr. Spruce continued to paint and exhibit until he was 88 years old. He infused his paintings with a sense of music and poetry. In many cases, he could identify the exact location he translated into paint by describing the time of day, weather, light, and where he was standing when he looked at it. His paintings are rich in color, texture and mood, conveying power and meaning. He was an extremely productive artist who painted mostly landscapes, although he occasionally painted fascinating people, birds and animals.

Mr. Yalina was particularly fond of trees, of which he said, “each one has its own personality.” In addition, he appreciated nature, including mountains, cacti, birds, animals, the ocean, rocks, rocky terrain, the sky, and storms. He treasured all things Celtic/Irish, was fascinated by languages and different cultures, and enjoyed good music, Yeats, Thomas Hardy, William Faulkner, and other good literature. Teaching was his strong suit and many former students kept in touch throughout his long life.

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Olin Travis was born in Dallas, Texas, on November 15, 1888. He was the second of six children born to Olin Few Travis and Eulalia (Moncrief) Travis. His father was a printer. Travis graduated from Bryan High School in Dallas in 1906 and from Metropolitan Business College in Dallas around 1908. Fascinated by art since childhood and encouraged by his high school art teacher, Travis briefly studied in Dallas under Max Hagendorn. In 1909, he entered the school of the Art Institute of Chicago (AIC). He studied there for five years under the guidance of various instructors, including Charles Brown, Ralph Clarkson, Kenyon Cox, and Joaquin Sorolla y Bastida. He graduated with honors in 1914.

In 1913, Travis made his first trip to Arkansas accompanied by a classmate from AIC and spent four months sketching in the Ozarks. After returning to Chicago, he worked as an instructor at the AIC before taking a position at the Chicago Art Institute of Commerce.

Travis met Catherine Bess Hale while she was a student at the AIC in 1914. The couple married in Ozark (Franklin County) on November 15, 1916. They had two children. The Travises worked in the Chicago area before moving to Dallas in 1924, where they co-founded the Dallas Art Institute (DAI) with James Waddell. The first major art school in the South to offer training in a variety of fields, DAI closed in 1945. Travis was a teacher there and served as its director until 1941.

In the summer of 1927, the Travises founded the Travis Ozark Summer Art School in an abandoned sawmill near Cass. Catherine Hale Travis, who grew up in nearby Ozark, had painted in the Cass area as a child, and the couple was able to rent the sawmill buildings very inexpensively. The school, which was an extension of the DAI, was held every summer for three years (although evidence suggests that additional summer classes may have been held as late as 1935). Up to fifty students attended the school. The camp had about fifteen roughly furnished cabins and a house. Classes were held for one to two months, starting in June, and were open not only to DAI students but also to Arkansas residents and other students from neighboring states. On weekends, students exhibited their paintings and organized dances,

Travis traveled to Arkansas almost every summer from 1914 to 1935. During one of these trips in 1925, he met Everett Spruce, a teenager who lived in Mulberry (Crawford County). In 1926, Spruce moved to Dallas to study under Travis at the DAI and eventually became a well-known American artist.

Although Travis worked primarily in Franklin County, he also spent time in Eureka Springs (Carroll County) and parts of western Arkansas. He enjoyed painting not only the beauty of the Ozarks, but also capturing its people in their daily activities, such as peeling peas, making sorghum, and picking cotton. Travis collected sun hats and painted a series of paintings of Ozark women wearing headdresses. One of these paintings, Whither, won an award for figurative composition at the Texas Union Art Exhibition in 1930.

Travis also painted in Colorado, Florida, Michigan, and Missouri. He held numerous exhibitions in the Dallas-Fort Worth area for approximately forty years beginning in 1914 and also exhibited in New York, San Francisco, and Chicago. During this time he received many awards and held several solo exhibitions of his work, including a retrospective at the Dallas Museum of Fine Arts in 1953. Travis was one of ten Dallas artists whose paintings were included in the Golden Gate Art Exhibition in San Francisco in 1938. His painting, titled “Country School,” was based on an old schoolhouse he painted in St. Paul, Madison County. In 1940, Travis participated in the short-lived annual exhibition of the Arkansas Watercolor Society. Olin Travis also created a number of murals, including two completed in 1936 with themes based on the discovery of oil in East Texas. He was an excellent portrait painter and was highly praised for his painting The Laborer (1930), which traveled the country and won numerous awards, as well as for his portrait of a ragged man from the Great Depression era called Mayor Hoover (1929).

Travis was one of the founders of the Art League of the Southern States and helped create the Dallas Federation of Artists in 1946. He remained an active artist until his death on December 4, 1975. He was cremated in Dallas.

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He then studied at the Dallas Art Institute with Thomas M. Stell, Jr. and Olin H. Travis, associating with other young artists, including Alexander Hogue, Jerry Bywaters, Otis M. Dozier, Everett Spruce, and Perry Nichols, among others.

He was an active member of the Dallas Art League, beginning with its founding in 1932. During the Great Depression, members formed a core of artists who led the development of the Texas Regionalist style. At the time, Dallas was one of the strongest and most dynamic centers of the regional art movement in the country.

In 1938, many Dallas artists, including Lester, formed the Lone Star Printmakers. Over the next four years, they created and exhibited their lithographic prints. The impetus for these young, financially poor artists was the opportunity to explore a new medium and showcase their work without incurring the higher costs associated with packing, transporting, and insuring paintings and sculptures.

Also in 1938, Lester married Sylvia Louise Bachrach of Dallas; they were married for fifty-three years and had two children.

Lester spent two summers in the early 1930s painting at Olin Travis’ cabin in rural Arkansas. In 1934-35, he worked as a staff artist for the Civilian Conservation Corps in Palo Duro Canyon and Fort Sill, Oklahoma. In the second half of the 1930s, he earned a living as a draftsman for Texas Power and Light in Dallas while continuing to paint. From 1940 to 1942, he taught at the school of the Dallas Museum of Fine Arts (later the Dallas Museum of Art).

Lester joined the faculty of the College of Fine Arts at the University of Texas at Austin in 1942 and taught there until his retirement as professor emeritus in 1972. He served as chairman of the art department from 1952 to 1954. During the summers of 1949 and 1950, he was a visiting professor at Sul Ross College in Alpine, Texas. William Lester died on November 27, 1991 in Austin.

The Dallas movement, in which Lester played a central role, reflected the clear influence of the local environment. The artists’ paintings characteristically projected an intensely subjective approach to landscapes and other objects around them within the framework of the American scene and surrealist aesthetics. Their work revealed an interest in ideas and clear forms rather than illustration. They rejected the imitation of established artistic styles, such as impressionistic interpretations of nature, and the transformation of common local subjects such as blue fields.

For a while, Lester’s subjects remained connected to the American Scene movement, but his interpretation became freer and more abstract. His paintings of natural scenes, buildings and people became very individual and gestural. Color became more vivid and central to his work, as did his emphasis on strong composition. His fascination with certain Mexican artworks, particularly the striking combinations of vibrant colors by Rufino Tamayo, influenced his own use of color from the mid-1950s onward. By the mid-1960s, many of his paintings tended toward complete abstraction.

Lester exhibited extensively and achieved considerable recognition throughout his career. He first gained national attention as one of the exhibitors at the Texas Centennial Exposition in Dallas in 1936. That same year, his work was shown at the First National Exhibition of American Art at Rockefeller Center in New York City. His paintings were also shown in other exhibitions and museums across the country, including the Pan American Exhibition in Dallas (1937), the Golden Gate Exhibition and the World’s Fair in New York (1939). His work was also shown at the Philadelphia Academy of Fine Arts (1940), the Brooklyn Museum (1941), the San Diego Fine Arts Society (1941), the Art Institute of Chicago (1942), the Denver Art Museum (1944), the Exhibition of Modern American Paintings, San Francisco (1952), the Colorado Springs Fine Arts Center (1955), and the Pan American Union, Washington, D.C. (1968). In addition, his work has been shown in major art museums in Texas.

Some of his major solo exhibitions were at the Passadoit Gallery in New York City (1948, 1950, 1953); the Dayton Art Institute (Ohio) (1949); the Palacio de Bellas Artes in Mexico City (1970); and numerous museums and galleries throughout Texas.

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In the 1930s, Dozier began working with local artists in Dallas known as the Dallas Nine. He was a charter member of the Dallas League of Artists, exhibited his work at the Dallas Allied Arts, and taught at the Dallas School of Creative Arts from 1936 to 1938. During this period, while studying the works of Matisse, Picasso, Leger, Derain, and others, Dozier developed a style characterized by strong abstract forms and bright colors. By the mid-1930s, he intensified his painting and muted his palette to earthy grays, beiges, greens, and browns. Several of his works from this era focus on the plight of farmers dispossessed during the Great Depression. Dozier exaggerated the size of insects and animals, suggesting the influence of Surrealism, and several contradictory perspective systems show the influence of Cubism.

Local critics praised Dozier’s work, and he won awards at several Union Art Exhibitions and the Texas General Exhibitions. He completed murals at Forest Avenue High School and Texas A&M University, as well as for post offices in Giddings, Arlington, and Fredericksburg. He began to establish a national profile in the early 1930s when he exhibited his work at the International Watercolor Exhibition in San Francisco, the Museum of Modern Art in New York, and the First National Exhibition at Rockefeller Center in New York.

In the summer of 1938, Dozier received a scholarship to the Colorado Springs Center for the Visual Arts, where he studied with Boardman Robinson. Under Robinson’s influence, he developed a more spontaneous, fluid style, using tools such as ink-soaked paper, a burnt campfire stick, or his thumb. He created over 3000 sketches of the Rocky Mountains and ghost towns. He also developed expertise in lithography and participated in all circles of the Lone Star Printmakers.

In 1945, Dozier returned to Dallas, where he taught at Southern Methodist University and the Dallas Museum of Fine Arts. He had solo exhibitions at the Dallas Museum of Fine Arts, the University of Texas at Austin, and others. He went on to exhibit his work nationally at the Whitney Museum of American Art, the Metropolitan Museum of Art, and more.

Later in his career, Dozier developed a semi-abstract style, using a freer brushstroke and brighter colors. Although he moved away from the anecdotal subject matter of his 1930s work, he continued to use natural forms as a source of inspiration. He made sketches to Big Bend and the Gulf Coast, the Louisiana bayou, and the Four Corners area in New Mexico, Arizona, Utah, and Colorado. During the 1950s and early 1960s, he traveled to Italy, Spain, Turkey, India, Ceylon, Thailand, Japan, and Mexico. Examples of his later work were published in Otis Dozier: A Portfolio of Six Paintings and Pecos to Rio Grande: Interpretations of Far West Texas by Eighteen Artists.

Dozier married Velma Davis, a jeweler and ceramicist, in 1940. Their contribution to the cultural life of Dallas was celebrated in a 1974 exhibition organized by the Dallas Museum of Fine Arts, Salute to the Doziers of Dallas. Dozier died of heart failure on July 28, 1987.

Dozier’s works are represented in the permanent collections of the Museum of Contemporary Art Fort Worth, the Museum of Fine Arts, Houston, the Witte Museum, the McNay Art Museum, the Archer M. Huntington Art Gallery, and the University of Texas. Huntington Art Gallery at the University of Texas at Austin, Longview Museum of Fine Arts, Wichita Falls Art Museum, Panhandle Plains Historical Museum, Dallas Museum of Art, Southern Methodist University, Denver Art Museum, Newark Art Museum, Wadsworth Athenaeum Museum of Art, Whitney Museum of American Art, and the Metropolitan Museum of Art.

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