Editing Graham Sutherland (section)

===World War Two===
At the start of World War Two, the Chelsea School of Art closed for the duration of the conflict and Sutherland moved to rural Gloucestershire.<ref name="CLewis1">{{cite web |author=Caroline Lewis|url=http://www.culture24.org.uk/history-and-heritage/war-and-conflict/world-war-two/tra27963|title=War Artists - World War Two on Canvas and Paper Part One: The Home Front|access-date=20 June 2017|work=culture24.org.uk}}</ref> Between 1940 and 1945, Sutherland was employed as a full-time, salaried artist by the [[War Artists' Advisory Committee]]. He recorded bomb damage in rural and urban Wales towards the end of 1940, then bomb damage caused by the [[The Blitz|Blitz]] in the City and East End of London.<ref name="ERowan"/><ref name=BlitzGS>{{cite web |url=http://www.tate.org.uk/art/artworks/sutherland-devastation-1941-east-end-burnt-paper-warehouse-n05737|title=Display caption, ''Devastation, 1941: East End, Burnt Paper Warehouse'' |date= May 2007|access-date=1 November 2016|work=[[Tate]]}}</ref> Almost all of Sutherland's paintings of bomb damage from the Blitz, either in Wales or in London, are titled ''Devastation:...'' and as such form a single body of work reflecting the needs of war-time propaganda, with precise locations not being disclosed and human remains not shown.<ref name=FarmhouseGS>{{cite web |author=Chris Stephens|url=http://www.tate.org.uk/art/artworks/sutherland-devastation-1940-a-house-on-the-welsh-border-n05734/text-catalogue-entry|title=Catalogue entry, ''Devastation, 1940: A House on the Welsh Border'' |date= November 1998|access-date=19 November 2016|work=Tate}}</ref> A number of features reoccur within this body of work, for example, the fallen lift shafts that were often the most recognizable aspect of larger bombed buildings and a double row of bombed houses Sutherland saw in the [[Silvertown]] area of the East End.<ref name="Darkness"/>
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Sutherland returned to Wales in September 1941 to work on a series of paintings of blast furnaces. From June 1942, he painted further industrial scenes, first at tin mines in Cornwall, then at a limestone quarry in Derbyshire, and then at open-cast and underground coal mines in the Swansea area of South Wales. Sutherland spent four months from the end of March 1944 at the [[Royal Ordnance Factory]] at [[Royal Arsenal|Woolwich Arsenal]] working on a series of five paintings for WAAC.<ref name=FurnacesGS>{{cite web |author=Chris Stephens|url=http://www.tate.org.uk/art/artworks/sutherland-furnaces-n05743/text-catalogue-entry |title=Catalogue entry, ''Furnaces'', 1944 |date= September 1998|access-date=1 November 2016|work=[[Tate]]}}</ref> In December 1944, he was sent to depict the damage inflicted by the RAF on the railway yards at [[Trappes]] and on the flying bomb sites at [[Saint-Leu-d'Esserent]] in France.<ref name=IWMgs>{{cite web |author=Imperial War Museum|url=http://www.iwm.org.uk/collections/item/object/1050000866|title=Correspondence with Artists, Graham Sutherland |access-date=1 November 2016|work=[[Imperial War Museum]]}}</ref><ref name="Foss">{{cite book|author=Brain Foss|publisher=Yale University Press|year=2007|title=War Paint: Art, War, State and Identity in Britain, 1939–1945 |isbn=978-0-300-10890-3}}</ref> In all, Sutherland completed some 150 paintings as part of his WAAC commission.<ref name="CLewis1"/>