Told in a triad of approaches — land, sea and air — hopping around in time and focusing more on the soldiers and survival, Nolan's film is a very different, an almost -
abstract war picture.
[12][12] Two other
War Motif paintings in this more
abstract vein are Painting Number 46 (1914 — 1915, Albright - Knox Art Gallery, Buffalo, NY) and The Iron Cross (1914 — 1915, Mildred Lane Kemper Art Museum, Washington University, St. Louis), reproduced in Gail Levin, «Hidden Symbolism in Marsden Hartley's Military
Pictures,» Arts Magazine 54, no. 2 (Oct. 1979): 157.