Describes the cultural and political context of Sargent's two murals for Harvard University's Widener Library (Cambridge), Death and Victory and Coming of the Americans (both 1922), which served as a World War I memorial, commissioned by Abbot Lawrence Lowell. Notes the similarity of the works to the posters that sold war bonds, allying Harvard to commerce and the glorification of war. Cites the correspondence between Sargent and Lowell (including their joint work on the accompanying texts), critical responses, and the preparatory works that document Sargent's working methods. Draws parallels between Sargent's soldiers and the models portrayed by J.C. Leyendecker. Discusses the artist's sources, including paintings by Rubens, advertisements and illustrations by Howard Chandler Christy, and ancient sculpture.
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