#TheTraumasOfTrenchWarfare
A million British soldiers died in World War One, and double that amount came home injured. For many of those lucky enough to return, the wounds they had suffered in Europe would leave them permanently disfigured.
The trenches protected the bodies of soldiers, but in doing so it left their heads vulnerable to enemy fire. Soldiers would frequently stick their heads up above the trenches, exposing them to all manner of weapons.
At the start of the war, little consideration was given to the trauma of facial injuries. It came as something of a surprise that so many victims survived to the point of treatment. Escaping the war with your life was seen as reward enough. The advent of plastic surgery would radically change that perception.

The biggest killer on the battlefield and the cause of many facial injuries was shrapnel. Unlike the straight-line wounds inflicted by bullets, the twisted metal shards produced from a shrapnel blast could rip a face-off.
Not only that, but the shrapnel’s shape would often drag clothing and dirt into the wound. Improved medical care meant that more injured soldiers could be kept alive, but urgently dealing with such devastating injuries was a new challenge.

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Why World War I’s wounded needed a sculptor.

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World War I’s horrors not only resulted in death, but severe disfigurement. When plastic surgeons were unable to heal the wounded, a unique solution came in play: sculpting.
Facial prostheses in World War I were a new solution to a difficult problem, and sculptor and writer Anna Coleman Ladd led these efforts for the American Red Cross in France. She made more than 150 masks for the wounded in an effort to provide some semblance of normalcy after their severe injuries.

These masks were made by making casts of the wounded faces, and then sculpting restored faces from that. Those sculptures were then used as a cast for thin copper-plated attachments, which were then attached to the wounded soldier’s face and painted. Though the process wasn’t restorative, it did provide some comfort to the wounded.

That experience shaped Anna Coleman Ladd’s art as well. When she returned to America, she was willing to depict the horrors of war in her War Memorial, as well as the possibility for a new and better day ahead.

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