Аннотация:
The article analyses paintings of wounded patients created by Scottish anatomist, neurologist, practicing surgeon and artist Charles Bell – graphic sketches in travel sketchbooks, paintings (1809) and watercolours (1815). His works provide a representation of the structure of wounds suffered during battle. The article compares 15 paintings from “The Wounded following the Battle of Corunna” series, (on display in the hall of the Royal College of Surgeons of Edinburgh) and 17 watercolours from the collection of Тhe Wellcome Library from the [Royal] Army Medical Services Museum. The authors stress that both the sketches and the paintings derived from sketches from Bell’s early work were rudimentary and unsophisticated compared to later watercolours of the wounded during the Battle of Waterloo. Most of the paintings from 1815 are dated and accompanied by comments, detailing not only the circumstances and nature of the wounds, but the name (or surname) of the patient, place of treatment, ar
Kry'lov N. N. Nikolay Nikolaevich 1956-
Grigoryan Y. G.
Alekberzade A. V. O. Aftandil Vagif Ogly' 1970-
Крылов Н. Н. Николай Николаевич 1956-
Григорян Y. Г.
Алекберзаде А. В. О. Афтандил Вагиф Оглы 1970-
Charles bell as an illustrator of military trauma (1809 and 1815)
Текст визуальный непосредственный
History of Medicine
Vol.6, Issue1 P. 32-40
2019
Статья
Charles Bell Gunshot wound History of medicine Images of the wounded Military surgery Military trauma Sketches of wounds
The article analyses paintings of wounded patients created by Scottish anatomist, neurologist, practicing surgeon and artist Charles Bell – graphic sketches in travel sketchbooks, paintings (1809) and watercolours (1815). His works provide a representation of the structure of wounds suffered during battle. The article compares 15 paintings from “The Wounded following the Battle of Corunna” series, (on display in the hall of the Royal College of Surgeons of Edinburgh) and 17 watercolours from the collection of Тhe Wellcome Library from the [Royal] Army Medical Services Museum. The authors stress that both the sketches and the paintings derived from sketches from Bell’s early work were rudimentary and unsophisticated compared to later watercolours of the wounded during the Battle of Waterloo. Most of the paintings from 1815 are dated and accompanied by comments, detailing not only the circumstances and nature of the wounds, but the name (or surname) of the patient, place of treatment, ar