Japanese American Art During WWII Internment Beauty Behind Barbed Wire First Edition 1952
1952Best.-Nr. 237181952. Japanese American art and craft survey published in 1952 documenting the cultural practices sustained within the War Relocation Authority camps during the Second World War. Allen H. Eaton records calligraphy painting embroidery wood carving miniature landscapes flower arrangement garden construction and tea ceremony as practices carried into confinement and adapted to barracks mess halls and the materials available within camp boundaries. Photographs identify artists teachers and makers at Amache Heart Mountain Manzanar Rohwer Poston Tule Lake and other incarceration sites preserving names and objects that official administrative accounts often treated as incidental to camp operations. Eaton Allen H. Beauty Behind Barbed Wire: The Arts of the Japanese in Our War Relocation Camps. New York: Harper & Brothers 1952. Foreword by Eleanor Roosevelt. Illustrated. 8vo. 128 pages. Eaton organizes the volume around the work produced by incarcerated Japanese Americans with photographs and extended captions describing materials makers and camp settings. Subjects include pine bark panels carved at Amache; miniature landscapes developed at Amache; a Rohwer calligrapher whose skill was "deeply respected by his neighbors"; flower arrangement classes and exhibitions at Rohwer; Estelle Ishigo's painting "Winter" depicting snowbound barracks at Heart Mountain; ornamental entrances and planted yards at Poston and Manzanar; and tea ceremony classes at Tule Lake intended to preserve "dignity and poise while meeting difficult problems." The frontispiece reproduces an embroidery made at Heart Mountain by Mrs. Makagawa combining the camp barracks barbed wire and the snow covered mountain beyond. Published a decade after Executive Order 9066 initiated the forced removal and incarceration of more than 120000 people of Japanese ancestry Eaton's book shifted attention from federal policy and camp administration to the objects and environments created by those confined. Its pages record how residents transformed scrap lumber desert plants stones discarded containers and improvised tools into carved panels gardens bonsai furnishings paintings and ceremonial spaces. Eleanor Roosevelt's foreword places these works within a critique of wartime incarceration while Eaton's captions preserve both the language of the period and detailed evidence of artistic instruction exhibition and exchange inside the camps. Jacket heavily worn stained chipped and torn with substantial losses at the spine and upper edges; with text and illustrated pages generally clean and legible. Overall good condition. A detailed postwar record of cultural continuity artistic labor and the remaking of domestic and ceremonial space under Japanese American incarceration. unknown books
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