On April 7, 2017, New Horizons entered a 157-day-long hibernation. New Horizons is an interplanetary space probe and is NASA’s first mission to Pluto and the Kuiper Belt. After operating steadily for almost two and a half years, the spacecraft and its systems deserve this much-needed break.

War souvenirs are as old as warfare itself. Be they trophies of victory or personal keepsakes of combat experiences, soldiers have always saved material evidence of their wartime service. Some, if they had the skills, turned the materials of war into art.

The signature aspect of the First World War in Europe was the protracted stalemate of trench warfare. After a brief period of mobility over the battlefield in the first months of the conflict, the opposing armies settled into a long and deadly war of attrition.

Before coming to work at the National Air and Space Museum, I taught for 15 years at Liberty Public Schools near Kansas City, Missouri. When I was teaching, I would write to anyone I thought I could get a response from, including celebrities, asking them for advice for students. My favorite responses were always from astronauts.  

In the late 1950s, the U.S. Naval School of Aviation Medicine and the newly formed National Aeronautics and Space Administration (NASA) recruited deaf people for weightlessness, balance, and motion sickness experiments. 

World War I, also known as the Great War, engaged all the great powers of Europe, and their worldwide colonial empires, including South Africa, German East Africa, French West Africa, Morocco, Algeria, Egypt, India, Vietnam, Australia, New Zealand, the West Indies, and Canada. The United States, Japan, and China also entered the conflict. More than 70 million military personnel were mobilized by all nations. The modern industrial capacity of the principal combatant countries fueled one of history’s most destructive wars. 

Mobilization of the American war effort was an immense undertaking. Decisions about everything from how to form fighting units, to manufacturing the needed equipment, to the logistics of transport and supply had to be addressed. Part of this planning was the decision to send artists to cover the war in Europe.

Eight professional illustrators, commissioned as U.S. Army officers, were embedded with the American Expeditionary Forces (AEF) in France in early 1918. Their mission was to capture the wide-ranging activities of American soldiers, including combat, with the intent of shaping popular understanding at home of the war experiences of the AEF.

The eight artists selected for the AEF art program were all established illustrators and painters before their military assignment, and had accomplished art careers after the war. They were selected by a committee chaired by Charles Dana Gibson, an illustrator who had gained fame as the creator of the popular “Gibson Girl” idealized image of feminine beauty. Gibson’s Pictorial Publicity Committee was under the broader wartime Committee on Public Information, established to coordinate propaganda for the war effort.

Although the assignment of the eight AEF artists to the U.S. Army Corps of Engineers was purely a formality, they found the many and varied activities of this branch of the AEF interesting subject matter. The industrial scale of the military effort demanded an enormous technical and logistical presence. Tens of thousands of men served loading, unloading, stockpiling, moving, and maintaining the tons of war materiel sent to France in support of the combat troops.

The AEF artists were embedded with the troops to capture the full experience of those serving in Europe, not only what transpired on the battlefield. Beyond combat scenes and the ravages of war, their work also depicted mundane everyday chores, feeding the troops, personal time, and entertainment—subjects very different from traditional war art that focused on heroic figures and gallantry on the field of battle. These works contributed to a more complete and realistic view of the war experience.