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The advance in the Soudan, the Horrors of a Dervish Baggara Raid (litho)
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The advance in the Soudan, the Horrors of a Dervish Baggara Raid (litho)
1039488 The advance in the Soudan, the Horrors of a Dervish Baggara Raid (litho) by Charlton, John (1849-1917) (after); Private Collection; (add.info.: The advance in the Soudan, the Horrors of a Dervish Baggara Raid. Illustration for The Graphic, 23 April 1898.); Look and Learn / Illustrated Papers Collection; British, out of copyright
Media ID 22633558
© Look and Learn / Illustrated Papers Collection / Bridgeman Images
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The Advance in the Soudan - Witnessing the Horrors of a Dervish Baggara Raid
EDITORS COMMENTS
. This lithograph, created by John Charlton in 1898, offers a haunting glimpse into the brutal realities of war during the advance in the Soudan. The image portrays a chaotic scene filled with chaos and despair as a Dervish Baggara raid unfolds. The artist skillfully captures the intensity and terror of this conflict. Horses gallop wildly through billowing dust clouds, their riders brandishing weapons with fierce determination. The air is thick with tension as soldiers engage in hand-to-hand combat, their faces etched with fear and desperation. In this moment frozen in time, we are confronted with the horrors that accompany such raids. Buildings lay smoldering in ruins while innocent civilians flee for their lives, seeking refuge wherever they can find it. The devastation is palpable; it serves as a stark reminder of the immense human cost that warfare exacts upon both combatants and bystanders alike. Charlton's masterful use of light and shadow adds depth to this powerful composition, intensifying its emotional impact on viewers. This lithograph originally appeared as an illustration for The Graphic newspaper on April 23rd, 1898—a testament to its ability to convey news events visually during an era before widespread photography. As we gaze upon this historical print today, let us remember those who endured these harrowing experiences—their stories forever immortalized within this artwork—and
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