page_title: Nose art
section_title: History
hierarchical_section_title: Nose art / History
caption_attribution_description: Francesco Baracca posing by his SPAD S.XIII. Latest possible photo date is June 1918 (date of death).
context_page_description: Nose art is a decorative painting or design on the fuselage of an aircraft, usually on the front fuselage.
  While begun for practical reasons of identifying friendly units, the practice evolved to express the individuality often constrained by the uniformity of the military, to evoke memories of home and peacetime life, and as a kind of psychological protection against the stresses of war and the probability of death. The appeal, in part, came from nose art not being officially approved, even when the regulations against it were not enforced.
  Because of its individual and unofficial nature, it is considered folk art, inseparable from work as well as representative of a group. It can also be compared to sophisticated graffiti. In both cases, the artist is often anonymous, and the art itself is ephemeral. In addition, it relies on materials immediately available.
  Nose art is largely a military tradition, but civilian airliners operated by the Virgin Group feature "Virgin Girls" on the nose as part of their livery. In a broad sense, the tail art of several airlines such as the Eskimo of Alaska Airlines can be called "nose art", as are the tail markings of present-day U.S.
context_section_description: Placing personalized decorations on fighting aircraft began with Italian and German pilots. The first recorded example was a sea monster painted on an Italian flying boat in 1913. This was followed by the popular practice of painting a mouth beneath the propeller's spinner begun by German pilots in World War I. What is perhaps the most famous of all nose art, the shark-face insignia later made famous by the First American Volunteer Group (AVG) Flying Tigers, first appeared in World War I on a British Sopwith Dolphin and a German Roland C.II, though often with an effect more comical than menacing. The cavallino rampante (prancing horse) of the Italian ace Francesco Baracca was another well-known image.
  World War I nose art was usually embellished or extravagant squadron insignia. This followed the official policy established by the American Expeditionary Forces' Chief of the Air Service, Brigadier General Benjamin Foulois, on 6 May 1918, requiring the creation of distinct, readily identifiable squadron insignia. World War I examples include the "Hat in the Ring" of the American 94th Aero Squadron (attributed to Lt. Johnny Wentworth) and the "Kicking Mule" of the 95th Aero Squadron.  Nose art of that era was often conceived and produced not by the pilots, but rather by ground crews.
  True nose art appeared during World War II, which is considered by many observers to be the golden age of the genre, with both Axis and Allied pilots taking part. At the height of the war, nose artists were in very high demand in the USAAF and were paid quite well for their services, while AAF commanders tolerated nose art in an effort to boost aircrew morale. (The U.S. Navy, by contrast, prohibited nose art, the most extravagant being limited to a few simply-lettered names, while nose art was uncommon in the RAF and RCAF.) The work was done by professional civilian artists as well as talented amateur servicemen. In 1941, for instance, the 39th Pursuit Squadron commissioned a Bell Aircraft artist to design and paint the "Cobra in the Clouds" logo on their aircraft.
  Perhaps the most enduring nose art of World War II was the shark-face motif, which first appeared on the Bf 110s of Luftwaffe 76th Destroyer Wing over Crete, where the twin-engined Messerschmitts outmatched the Gloster Gladiator biplanes of RAF 112 Squadron. The Commonwealth pilots were withdrawn to Egypt and refitted with Curtiss Tomahawks off the same assembly line building fighter aircraft for the American Volunteer Group (AVG) Flying Tigers being recruited for service in China. In November 1941, AVG pilots saw a color photo in a newspaper of a shark mouth painted on a No. 112 Squadron RAF P-40 fighter in North Africa and immediately adopted the shark-face motif for their own P-40Bs.  The British version itself was inspired by "sharkmouth" nose art (without any eyes) on the Bf 110 heavy fighters of ZG 76. This work was done by the pilots and ground crew in the field. However, the insignia for the "Flying Tigers" – a winged Bengal Tiger jumping through a stylized V for Victory symbol – was developed by graphic artists from the Walt Disney Company.
  Similarly, when in 1943 the 39th Fighter Squadron became the first American squadron in their theatre with 100 kills, they adopted the shark-face for their P-38 Lightnings. The shark-face is still used to this day, most commonly seen on the A-10 Thunderbolt II (with its gaping maw leading up to the muzzle of the aircraft's GAU-8 Avenger 30mm cannon), especially those of the 23d Fighter Group, the AVG's descendent unit, and a testament to its popularity as a form of nose art.
   
  The largest known work of nose art ever depicted on a World War II-era American combat aircraft was on a B-24J Liberator, tail number 44-40973, which had been named "The Dragon and his Tail" of the USAAF Fifth Air Force 64th Bomb Squadron, 43d Bomb Group, in the Southwest Pacific, flown by a crew led by Joseph Pagoni, with Staff Sergeant Sarkis Bartigian as the artist.  The dragon artwork ran from the nose just forward of the cockpit, down the entire length of the f
caption: Count Francesco Baracca and his SPAD S.VII, with the cavallino rampante that inspired the Ferrari emblem
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