Reporting and documenting
I had already researched some of the reportage illustrators on the list – Lucinda Rogers, George Butler, Paul Hogarth, David Gentleman, Olivier Kugler (see Exercise 3.0) and Veronica Lawlor (see Research 3.1). The rest of my research is below:
I then read the articles linked in the course materials about historical and contemporary reportage illustration. Below are my reflections.
Reflect on what happens specifically in the visual reporting of war, by illustrators, from both an historical and contemporary perspective.
As I researched reportage illustration, I found that most methods of collecting information and capturing a scene or experience could fall under three main categories; drawing, photographing and writing.
Drawn reportage goes back centuries (Walters, 2017). Illustrations of war scenes were, and are still, admired for their keen observation and accuracy; one of their main purposes is to give the viewer a sense of the environment and conditions. The drawings are reporting on an event, so they are capturing an experience through the eyes of the artist. Some focus on people or figures and their expressions and actions. For instance, Ardizzone was inspired by the people he saw and produced some more comical images and was criticised for taking the war too lightly (Powers, 2017). His work did mature, focusing more on landscapes and the environment rather than solely the people. On the other hand, Kugler is praised for treating the refugees with whom he interacts and draws with empathy and compassion (Walters, 2017) – this comes across in his illustrations. He understands his subjects and their stories and makes a conscious effort to connect with them.
Drawing is, after all, an individual form of expression; if the viewer is aware that drawings are very much affected by the artist as a person, they should be able to cast a critical eye over the illustrations. Is this the purpose of reportage though? Shouldn’t these illustrations be informative and accurate? When the illustrators are seeing such harrowing, emotional moments, they will, of course, react and possibly portray this; in their choice of materials, colours, style and even what they choose to draw and what they choose to omit.
Some illustrators draw in the moment, recording their experiences and observations in a sketchbook straight away, however, Kugler draws after being immersed in a situation (Walters, 2017). He prefers to use photographs and written/recorded notes to inform his drawings.
Photography meant reportage evolved (Walters, 2017). Since photography has become an option, artists and reporters have utilised cameras to document what is happening in situations of conflict. It has increased in popularity, changing the way some artists work. Illustrators may use photographs for reference to help inform their sketches. Kugler uses photographs to capture details and perspectives that would take a long time to draw (Walters, 2017). Emmanuel Guibert and Frėdéric Lemercier utilised the work of late French photographer Didier Lefèvre, combining writing, photographs and illustrations to create a graphic novel (Poyner, 2009). The narrative was aided by the illustrations (post-conflict and without Lefèvre’s lost journal). They attempted to seamlessly bind the images together to help tell the story through his eyes. It could be argued that a mixture of approaches – drawings, photographs and written commentary – would give a more accurate report of war. Although the illustrations were created later, they were carefully introduced to the narrative and in-keeping with the style and characters, never artificial or forced (Poyner, 2009).
Finally, writing plays a huge part in the visual reporting of war. Diaries and journals are very personal; war artists could record their reactions and responses to their experiences, such as Ardizzone did during the Second World War (Powers, 2017). Kugler notes everything his subjects say or do in his research process (Walters, 2017). He then uses these notes to help inform his images, but will also include information or quotes from his subjects as a layer of his illustration, like a written commentary, in his own handwriting font (Walters, 2017). Additionally, Kugler records his interviews – a relatively modern ability – while also taking notes. It seems that, along with his photographs, this gives him a thorough picture of the interviewee, with plenty of reference material to work from, leading to illustrations that are filled with details about the person and their story.
Utilising various methods to investigate and record the illustrators experiences allows for a full, thorough and detailed picture. Through any personal reaction or response, a war situation becomes accessible and viewable. If we look at an individual’s story, rather than big statistics and statements made on a national or international scale, the images become relatable. These are people to understand and connect to, who have found themselves in a horrific narrative; they are not simply numbers or percentages in a news article. These reportage illustrators must have witnessed incidents that are unimaginable, but we can access this by viewing what one human saw happening to another – manageable chunks to understand what conditions were/are like for the people in these situations. For instance, ‘The Photographer’ (Didier Lefèvre) saw doctors treating shattered eyes and burned hands; individual stories and cases that provide a snapshot of what that doctor went through and how dangerous conditions were for everyone, but just a snapshot, a couple of stories to connect with. It is a more recent phenomenon to make reportage more personal; individual stories are relatable and human.
References
Powers, A. (2017) Ardizzone at peace and in conflict. Eye, 93, Volume 24. Retrieved 28/11/19 from http://eyemagazine.com/feature/article/ardizzone-at-peace-and-in-conflict
Poyner, R. (2009) Framing the evidence of war. Eye, 73, Volume 19. Retrieved 28/11/19 from http://eyemagazine.com/opinion/article/framing-the-evidence-of-war
Walters, J. (2017) Olivier Kugler: bearing witness. Eye, 93, Volume 24. Retrieved 28/11/19 from http://www/eyemagazine.com/feature/article/olivier-kugler-bearing-witness
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