"Chosin Fires" - James Dietz - Korean Military Art

The growing popularity of aviation art has brought before the public eye the works of a number of professional aviation artists. Among these one artist stands out for his unique approach to this genre. "The people, settings, and costumes are what make aviation history exciting and romantic to me." It is this feeling that makes James Dietz, and his artwork, so different from that of his contemporaries. Rather than simply illustrate aviation hardware, Dietz prefers to portray human involvement.

After graduation from Art Center College of Design in 1969, Jim began a successful career as a commercial illustrator in Los Angeles. The subject matter varied from automobiles to action scenes to romantic book covers. A steady flow of work from New York enabled the Dietz' to move to Seattle in 1978. It was at this time that he took his first concrete steps toward fulfilling his dream to specialize in aviation art, at that time an almost unheard of genre. Since then, aviation art has played an increasingly large part in his career. Jim Dietz's clients include Boeing, Bell Helicopter, Allison, and Flying Tigers, to name just a few.

Jim has also branched out into the fine arts field with his aviation art. A strong following has developed for his originals and a growing number of limited edition prints have introduced Jim's name to print collectors worldwide. Four of Jim's originals were put on display in the Smithsonian's National Air & Space Museum commemorating the 75th Anniversary of Naval Aviation; one of the paintings was presented by the Navy League to then Secretary of the Navy, John Lehman. A regular contributor to the Air Force Art Program, Jim's work has been featured on the cover of AIR FORCE magazine.

Jim Dietz has been honored with several gold medals from the Los Angeles Society of Illustrators and has won Best in Show in three successive years in the EAA Aviation Art Show. In 1988, at the second American Society of Aviation Artists forum, Jim was awarded the "People's Choice Award" for his painting selected by forum attendees. Major showings of Dietz's originals have recently been held at the EAA Museum and the San Diego Air Museum. His work is found in a number of private and corporate collections.

James Dietz Signed & Numbered Limited Edition Print "Chosin Fires"

US Army and Marine field artillery in Korea

In the history of warfare, many battles have made manifest the fact that when forces join on the field of battle, Field Artillery firepower is the element of combat that makes a difference. Such was the case in late November and early December 1950 at the Chosin Reservoir, in the Republic of Korea.

This epic conflict, characterized by misery, cold, exhaustion, and sacrifice, portrays an epic 17-day struggle between primarily U.S. and Chinese Communist Forces. To say the conditions were tough is an understatement. The bitter cold cut so deeply that the men became numb and the equipment ceased operating. When the opportunity arose to change boots, soldiers could see the ice crystals that had formed between their toes; some died while advancing, merely from the shock of the coldness. The fluid in the howitzers recoil systems became more like glue, and at night, the only way to keep the men and the guns warm was to keep them firing. That worked out well, as there was no shortage of targets.

The Chinese military had sent 10 Divisions, 120,000 of its very best troops south that November with orders to annihilate the US and its allies "to the last man.” These were not farmers or conscripts; most of the Chinese troops were veterans of the victorious campaigns against Chiang Kai-shek's Nationalist forces. They came to Chosin looking for a fight, and that’s just what they got.

The battle at Chosin was ripe for heavy firepower, but the sea was 70 miles away, thus no naval gunfire; and the weather was often unfit for flying, thus affecting air support. Just as so many times before, consistent firepower was in the able hands of the King of Battle – the Field Artillery. The Chinese Communist Forces didn’t count on the ferocity or the tenacity of American soldiers and marines, nor did they anticipate the shocking blow they would be dealt by the Redlegs sent to keep watch over them.

Outnumbered six to one, the Allied forces chose retrograde operations, and began the long march through narrow, mountainous defiles south to Hagaru-Ri. Field Artillery of every kind supported the U.S. forces: Army and Marine Corps, light and heavy cannons; towed and self-Propelled howitzers; Active and Reserve Forces destroying enemy targets with direct and indirect fires. Many redlegs alternated between fighting as artillerymen or as infantry, whatever the battle required, while leapfrogging their way back to relative safety.

This vast mix of fire support came together to create effects so devastating to the enemy that when it was over, the nearly impossible had happened: seven of the ten Chinese Communist divisions were destroyed, and would never see combat again during the Korean War. America sacrificed many lives during those 17 days in the winter 1950, but in the end, what should statistically have been an irrefutable annihilation of American troops, was a lesson in Field Artillery and Firepower for our foes.

Determined forces of freedom lived to tell the story of those 17 days: of the unbearable cold, of the impossible odds, of the loss of comrades, and of the times when the effects of Field Artillery made the impossible suddenly seem possible, the hopeless seem attainable. These men, these heroes, will never forget the extraordinary role that they and their “Chosin Fires” played in an unforgettable chapter of our Field Artillery heritage.

This 25" by 12-1/2" image size print, 31" by 19" overall, limited to 250, is signed by the artist.

This print is also available as an Artist Proof (limited to 100) - $200

All Limited Edition prints are signed and numbered (S/N) by the artist. Limited Edition prints are restricted to a certain number. For example, if 400 prints are made from an original painting, once they’re gone, that’s it. There is no limit to the number of open edition prints of a particular painting. That’s why Limited Edition prints are more expensive — and more valuable to collectors — than "open" edition. Rare objects are more valuable.

An Artist’s Proof (AP), generally, is the first 5% - 10% of the Limited Edition prints that come off the press. This status is noted on the print. Collectors prefer APs because their value increases even more than a Limited Edition as time goes by.

All Limited Edition artwork is subject to availability at time of order. Although seller strives to remain currrent as to inventory, seller reserves the right to cancel a sale if item is no longer available at time of purchase.