two contrasting exhibits honor the 100th anniversary of the signing of the Treaty of Portsmouth

Art has incredible power to influence public opinion, as proven by countless war propaganda campaigns. During World War II, illustrators worked to persuade the United States to enter the fight, fabulous posters extolled the virtues of women in the workplace, and newsreels brought home weekly images of the latest military exploits abroad. Vietnam-era photojournalists used the shock value of war’s grim reality as a tool to change public opinion. Come to think of it, aren’t we at war right now? As mainstream television and newspapers manufacture the official story with hyper-efficiency, artists are at liberty to diverge from it, enhance it, or drag it through the mud if they want.

Of course, not all artists are warriors driving home a single-minded political message. Seeking a larger context or a deeper meaning behind the disorder or pushing forward contradictions are also brave and noteworthy acts of expression. This is what distinguishes art from propaganda, that which seeks to influence public opinion through subjective bias and occasionally a little omission or disinformation.
“The Art of Peace: 100th Anniversary of the Russo-Japanese Treaty Signing” at the New Hampshire Art Association’s Robert Lincoln Levy Gallery trends toward an introspective vein of thought on war and mostly peace, although a sea of doves, angels and works titled simply “Peace” nearly drown out the brave and noteworthy. While there are too many pieces in the show for any consistent quality to stand forth, a good number of them will make it worth your trip.

Paul Wainwright’s black and white photograph “Box Pews, Rocky Hill Meeting House” drives home the essence of the celebration of the Peace Treaty. Establishing the historic first in “multi-track” diplomacy meant the community came together in support of the common goal, even inviting the Russians and Japanese negotiators into their homes. This grew out of their sense of community and their moral beliefs; it grew out of the meetinghouse. Wainwright’s photo of four family box pews creating one cross reminds us of this cultural history.

Other photographers brought strength to the show through diverse interpretations of the theme. “Playing for Peace . . .” by Robert Sargent Fay poignantly portrays the tension and determination shared between a young Israeli woman and a young Palestinian woman playing Bach’s “Gamba Sonata 2 in D major” together. Sandra Lange’s “NY Subway Singers” is a refreshing sight of energetic joy and spirit. The stillness of Bill Finney’s “Winter Peace” and prize-winner Norman Desfosses’ “Gathering of Doves” evoke the momentary calm and quietude of a seasonal moment, an inner peace found in the natural environment.

Several interesting collage works dealt with the war theme head on. Judith Heller Cassell’s “Only the Dead Have Seen the End of War” combines semi-transparent waxed photocopies of documentary photographs of the suffering of war into a large banner hanging in the front window of the gallery. Images of the dead and even a letter from the Civil War drive home the point concisely. Adrienne Kernan Lavallee’s prize-winning collage “After the Storm” bears the words “never again” amidst feather-light, fragile strips of handmade paper that seem to defy the certitude of the promise.

Peace today is especially intriguing when it looks like peace yesterday. Thomas Quimby’s “Enduring Visions in Peace,” drawn in ebony, makes you look twice. He perfectly captures the feel of a commemorative historic lithograph, with portraits of the primary negotiators on either side of a proud Wentworth Hotel. Is it a copy of an original? Or is Quimby quietly praising an era when illustrations honored significant events by creating his own addition to the archives? Stephen and Patricia Gianotti’s colored print “The Angel of Peace Descends” likewise works with the historic commemorative seal in an image of the angel Gabriel offering lilies, only their print is bright with gold and unmistakably new. Paul Bouchard’s multi-media work on canvas, “Peace Quarry,” could be a relic pulled up from the harbor, a plaque with (Cyrillic?) letters mysteriously re-appearing for the anniversary of the treaty signing. False relics, these images speak to us of the authority history has in our lives, and how rediscovering our history can awaken a new understanding of ourselves and of our community.

“War and Peace: Images From the Russo-Japanese War” at the Athenaeum illustrates the mechanisms at work in propaganda and the very real responses archetypes of courage, victory and suffering create in us. Curator Eleanor Tracy culled these dramatic and colorful lithographs from the private collection of Jean and Frederic Sharf of Chestnut Hill, Mass. Several photographic images of the war camps and the treaty signing accompany over 20 Japanese and a few Russian lithographs.

While scholarly research contributes to the strength of the exhibit, the detailed and dynamic battle scenes captivate the imagination on their own. In many scenes of the attacks at Port Arthur, large Russian ships loom over small but determined Japanese torpedo boats firing away at them. The David and Goliath style of many of the battle scenes at sea and on land persuaded the Japanese of the bravery of their soldiers. Depictions of the Russians were no less valiant, however, securing the reputation of the Japanese through the image of a worthy enemy. The artists in Tokyo created these renditions from the stories telegraphed from the frontlines, with little concern for the accuracy of the details. Publishers rushed the images for quick sale, delayed only by a waiting period for the censors to review the content.

In Japan, the successful distribution of the lithographs among the population and foreign tourists contributed to the impression that the Japanese were winning the war. The exhibition catalog “The Art of Propaganda: Lithographs Published During the Russo-Japan War, 1904-1905” provides a detailed dateline and maps as well as the scholarly commentary on view in the gallery. Rare books from peace treaty celebration organizer Charles Doleac’s personal collection are also on display outside of the gallery for the duration of the exhibit.

While you’re at the Athenaeum, take the opportunity to speak with Tom Hardiman, Keeper of the Athenaeum. His in-depth knowledge of the show and the history of the treaty signing will keep you thoroughly engrossed in the action. If your appetite for history lessons just keeps growing, check out the lineup of renowned scholars speaking at the Athenaeum through Oct.1. On Thursday, Aug. 25 Christopher Benfey will be speaking on “New Awakenings.” Benfey is a prolific critic, essayist and author, whose latest book, “The Great Wave: Gilded Age Misfits, Japanese Eccentrics, and the Opening of Japan,” explores the cultural exchange between New England and Japan during the Gilded Age.

Celebrating the 100th anniversary of the Portsmouth Peace Treaty gives us a chance to think about another kind of diplomacy, one where our president can win a Nobel Peace Prize and small local efforts can create lasting global impacts. Feed your ethical dilemmas and visit both shows in one day.

The Art of Peace: 100th Anniversary of the Russo-Japanese Treaty Signing, through Sept. 5. Robert Lincoln Levy Gallery, 136 State St., Portsmouth, 603-431-4230.
War and Peace: Images From the Russo-Japanese War, through Nov. 5. The Portsmouth Athenaeum, 9 Market Square, 603-431-2538.
Also this week: Peace and the Pursuit of Pleasure, a rare look at privately collected antique Japanese woodblock prints showing the many pleasures enjoyed in Japan between 1600 and 1850, a time of unprecedented peace, through Sept. 5. Coolidge Center for the Arts, 375 Little Harbor Road, Portsmouth, 603-436-6607.