ABSTRACT
Though fighting doughboys constituted over 60 percent of all freestanding soldier memorials, the popularity of doughboys extended well beyond that bellicose ideal. After the fighting soldier, the standing doughboy at parade rest was the most common, and even the mourning doughboy left a distinct mark on the visual culture of the interwar period. This chapter overviews these less aggressive soldiers, especially the mourning and wounded types. Images of doughboys mourning at makeshift graves, for example, illustrated the pages of popular magazines and newspapers like the Stars and Stripes and American Legion Weekly. Both the doughboy's gesture and the inscription entreat the viewer to participate in popularly recognized acts of commemoration. Lukeman's much simpler doughboy sculpture in the Red Hook neighborhood of Brooklyn, New York, achieved a judicious balance between celebratory patriotism and peaceful homecoming by focusing on the joyful aftermath of war and the victory achieved by American troops.
