Professor Paul Gough
Dr Paul Gough is RWA Professor of Fine Arts at the University of the
West of England, Bristol where he is the Deputy Vice-Chancellor (Academic).
A broadcaster, painter and writer, he has exhibited widely in the
UK and abroad, and is represented in the permanent collection of the
Imperial War Museum, London; the Canadian War Museum, Ottawa, and
the New Zealand War Memorial. He has published in a wide range of
topics, including the processes and iconography of commemoration,
the cultural geographies of battlefields, and the representation of
peace and conflict in the 20th/21st century. Amongst his recent books
is a monograph on the British artist Stanley Spencer, Journey
to Burghclere (2006) and
A Terrible Beauty (2010) an extensive study
of British art of the Great War. During ten years work as television
presenter, researcher and associate producer he worked for UK’s
ITV, BBC and C4 on a range of creative arts programmes from dance
to drama, poetry to painting, including the award winning documentary
about the war photographer, Don McCullin. As part of his leadership
role in higher education he has worked throughout UK, Australia and
New Zealand, advising on the formal assessment of university research.
He has a particular interest in the graphic language used to describe
places of conflict, and has carried out extensive research into the
history of military sketching and panoramic drawing, whereby graphic
and cartographic conventions and line drawing have been used (and
indeed still continue to be used) for sniping, surveillance and target
indication on the battlefield. See for example his blog: http://militarysketching.blogspot.com/
He has also researched the role of regimental painters in recording
the appearance of battle, concentrating in particular on issues of
exactitude and authenticity. His essay on the British painter David
Rowlands is available on: http://eprints.uwe.ac.uk/7880/
and on his Vortex website: www.vortex.uwe.ac.uk/warg4.htm
Paul Gough’s research is based on several decades of drawing
en plein air and also having been commissioned for a number of multi-national
companies to produced visual records of places, events and incidents,
including a number of commissions with the British army and Royal
Marines, and drawings of former battlegrounds: see www.vortex.uwe.ac.uk/gallipoli.htm
Gough, P.J. (2009)
‘Calculating the future’ –
panoramic sketching, reconnaissance drawing and the material trace
of war, in Saunders, N and Cornish, P. (eds.)
Contested Objects: Material Memories of the
Great War, Routledge, pp. 237-251, London,
Gough, P.J. (2008)
‘Exactitude is truth’: representing
the British military through commissioned artworks’,
Journal of War and Culture Studies
Vol. 1 No.3, pp.341-356, 5 colour illustrations, 2008.
Gough, P.J. 'An
Epic of Mud': Artistic Interpretations of Third Ypres,
in 'Passchendaele in Perspective: the 3rd
Battle of Ypres', editor Peter Liddle, chapter
25, 4 b & w illus, Leo Cooper, 1997.
Gough, P.J. 'The
Experience of British Artists in the Great War,
in Facing Armageddon: The Great War Experienced'
- editors Peter Liddle and Hugh Cecil, Pen and Sword/Leo Cooper, 1996.
Terrible Beauty’: War, British Artists and the First World War
(UK, 2009) ISBN 978-1-906593-00-1
This book explores a diverse group of war artists and their work,
examining in detail the wartime lives of fifteen artists who are central
to the way we now visualize the War on the Western Front and on more
distant battlefields in Macedonia and Gallipoli. It contains the first
detailed examination of lesser known war artists such as Adrian Hill
and Muirhead Bone, and offers new material on military sketching.
The research was based on over a decade of fieldwork, archive research
and original investigation in the Imperial War Museum and other collections.
Aspects of the research were disseminated at conferences and through
public lectures: The Iconography of Emptiness, ffotogallery, Cardiff,
February 2010; Festival of Ideas, Bristol, May 2010; War Art and the
Imagination, BRSLI, Bath, June 2010; and extracts were published in
‘Two Gun Tony and the Prints of War’,
Chop, journal of
the Malaspina Printmaking Studio Vancouver, Canada, January 2010.