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Two Different Views of War: Elizabeth Thompson (a.k.a. Lady Butler) and Anna Lea Merritt

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Sep 10, 2004

The subject of war is not necessarily one that the average art lover would equate with women artists. While the production of war-related subjects in art is historically male-dominated, women have also participated in the genre. For example, some women painters of the early nineteenth century produced scenes of grieving mothers and widows as a response to the Napoleonic Wars. As the century advanced, war-related scenes continued to appear in women's art from time to time. This article will focus on contrasting images produced by the English painter Elizabeth Thompson, later Lady Butler (1846-1933), and the American painter Anna Lea Merritt (1844-1930).

Thompson, who hailed from an upper-class feminist family, is best known for her paintings of battle scenes. During the early part of her career, Thompson's images were based largely on second-hand information, as she lacked military connections within her circle of family and friends. It was during this time that she produced such paintings as Calling the Roll After an Engagement, Crimea (1874), which was purchased by Queen Victoria. However, on 11 June 1877, she married Major William Butler. Despite the now downhill direction of her career and increasing domestic duties, Thompson (now known as Lady Butler) accompanied her husband to his military postings, allowing her to travel with her husband to such postings as Egypt and Syria and enabling her to produce drawings and paintings from first-hand experience. (1)

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One of her last great paintings is set neither in the Middle East nor even in Butler's own time. Scotland Forever! (1881) represents the charge of the Scots Greys regiment of the British Army during the second phase of the Battle of Waterloo in 1815. Although the British would ultimately emerge victorious, the Scots Greys would not enjoy the same outcome. By the end of their charge, 107 riders would be killed, 97 wounded, and 228 horses (of the original 416) lost. (2) In Butler's painting, the Scots Greys are captured in mid-charge, the leader raising his sword and calling back to his troops. Although the painterly application of the paint obscures the countenances of the soldiers, their raised arms and swords exhibit their pride, honour, and willingness to defend their nation, regardless of the consequences that they may meet. In addition to the desire to enter into a male-dominated genre, Butler's intentions for producing such battle scenes were also patriotic. This is exhibited in her quote, "I never painted for the glory of war, but to portray its pathos and heroism." (3)

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