Recognizing that nose art was a morale booster, US Army Air Forces (USAAF) leadership allowed pilots and crews to express themselves through nose art. While the US Navy and Marine Corps forbid the practice, naval aircraft further away from the “flagpole” often included such art. In this regard, the existence of art on a Navy or Marine plane was in itself a form of resistance.[vi] Most of the aircrews manning USAAF or naval aircraft during the war were young men roughly between the ages of 17 to 25. Their exuberance as youths, patriotic service during the conflict, and fatalistic attitudes served as the subject for such expression. 

Depictions of Women in WWII Nose Art

Away from wives and girlfriends, and assigned to remote areas of the world, the most popular theme for nose art was, by far, women. While depictions varied greatly, figures painted by Peruvian-born artist Alberto Vargas were a particular favorite. Working for Esquire Magazine starting in 1940, his work featured an idealized representation of the female form.[vii] “Vargas Girls” were universally popular during the war, with his efforts continuing well into the 1980s. His work proliferated between 1942 and 1946, with some nine million copies of the magazine sent without charge to troops overseas absent of any advertisement.[viii] Equally popular was the Brown and Bigelow Calendar Company’s commercial artist Gil Elvgren’s stylized depictions of the American “girl next door.” Also known for his work with the Coca-Cola Company, his illustrations were also featured in popular periodicals such as Yank, Flirt, and Nifty.[ix] In addition to these artists’ work, cartoonist Milton Caniff’s fictional femme fatal named “Miss Lace” was especially popular.[x] These illustrators, along with others, provided inspiration for many crews and squadron artists.

Miss Lace adorns the nose of a B-17G of the 447th Bomb Group. She was a popular theme in all theaters of the war. USAAF Nose Art Research Project

Such feminine depictions, along with USO shows with Betty Grable and Rita Hayworth, helped perpetuate the idea that this was “what the boys were fighting for.”^[xi] While women were decidedly the most popular subject for nose art, rules did apply. Full nudity was frowned upon and typically figures were discreetly covered either by clothing, a motif, or pose. A January 31, 1944, directive from Headquarters Eighth Air Force specifically stated, “It is the responsibility of … commanders to censor or approve unofficial names of aircraft, and inspect aircrew jackets and other equipment.”[xii]  While some Eighth Air Force units had committees that included the base chaplain that reviewed proposed art, “common sense” was the prevailing attitude with commanders having authority over what was acceptable.^[xiii] 

Female depictions also had deeper connotations. Reflecting the crew’s natural youthful instincts, the use of the female form also helped create a kind of bond between plane and crew. Much like the centuries-long tradition of sailors referring to ships with feminine pronouns, the same applied to aircraft with reflective art.[xiv] Given such depictions, a close relationship often formed between the crew and their machine. Aircraft were often viewed as “female” and sometimes seen as a mother figure, nurturing or protecting the crew.[xv] The plane would deliver them from the danger of combat and safely return them back home.[xvi] 

Interestingly, the number of aircraft depicting women varied by theater. In a survey of over 700 examples of nose art, 43 percent in the European theater and 66 percent in the Pacific depicted women. While those certainly were the most popular depiction by far in both theaters, the 23 percent discrepancy between the two theaters might reflect the more remote nature of the Pacific war. While ETO crews routinely saw women in nearby towns or on base, many crews stationed on Pacific islands were at locations wholly devoid of any female presence-hence the larger representation.[xvii]

 View of the nose art on a Consolidated B-24 Liberator; titled "Baby Shirley" and depicts a woman in a bikini. Female figures painted on US aircraft were by far the most popular theme for US airmen. Many of them were inspired by popular artists such as Alberto Vargas and Gil Elvgren. Donation by Bonnie Berry. 2012.083.025

However, many referenced wives, mothers, or girlfriends in a more respectful manner. American air ace Major Richard Bong had his wife’s face and name emblazoned on the nose of his P-38, while Brigadier General Paul Tibbets’s mother’s name, Enola Gay, appeared on the first atomic bomber. Medal of Honor Recipient Colonel Neel Kirby named his P-47 “Fiery Ginger” after his red-headed wife, and Major Richard Turner christened his P-51 “Short-Fuse Sallee” in honor of his girlfriend (only to remove “Sallee” after the relationship soured). General Chuck Yeager named his aircraft “Glamorous Glenn” after his future wife, while Captain Richard Peterson had “Hurry Home Honey” painted on his P-51 in reference to his wife’s final salutation at the end of her letters.[xviii] Even a young Princess Elizabeth had a B-17 named “Rose of York” in her honor with an accompanying ceremony for the unveiling. 

Gender neutral themes with a logo or accompanying graphic were also common.[xix] Irony, humor, geography, or fatalism were popular topics. “Bucket of Bolts,” “I Wanted Wings,” “A Wing and 10 Prayers,” and “Off Limits” are such examples. Depictions usually originated among the crew, with the motivation of the motif often known only to them and possibly the artist.[xx]  In addition to showing appreciation for a location back in the States, geography-related themes were common, with names like “Jersey Jerk,” “Windy City Avenger,” “Missouri Mule,” “Arkansas Traveler,” “Tarheel,” or “Alabama Bound.” Similarly, War Bond aircraft purchased by local organizations reflected the importance of location. High schools, factories, towns, and cities often collected funds to buy a given aircraft with the sponsoring group’s name depicted in some form on the fuselage. 

Many motifs in nose art reflected American popular culture. The 1943 Andrew’s Sisters tune “Shoo Shoo Baby” and Al Dexter’s “Pistol Packing Mama” were common, along with others inspired by band leaders Tommy Dorsey or Glenn Miller. The gambling terms such as “Shoot You’re Faded” along with poker inspired themes such as “Royal Flush,” “Straight Flush,” “Aces High” or “Full House” were also popular. Hollywood movie titles were also the source of inspiration referencing pictures such as “Hells Angels,” “Hellzapopin,” “My Gal Sal,” and “Cabin in the Sky,” along with many other popular cinematic influences. 

Depictions of Men in WWII Nose Art

Male-centered themes were also used, but not as frequently as female depictions. Masculine-focused art came from several influences such as military leaders, comic strips, Disney, or Looney Tunes cartoon characters. Depictions of Li’l Abner, Superman, Mickey Mouse, Bugs Bunny, and Donald Duck among others made their way onto aircraft. Crew themed titles inspired by the men themselves were also present such as “Rosie’s Riveters,” “Ten Knights in a Baroom,” “Brass Rail Boys” or “Dry Martini and the Cocktail Kids.” One of more impressive depictions was of a B-29 named “Waddy’s Wagon” that had caricatures of the crew being towed in a cart by the plane’s pilot Walter “Waddy” Young. In the same survey of nose art motiffs, male depictions appeared in only 11 percent of the sample population, with a roughly similar level of representation in both theaters.[xxi]

Tally Sheets or Score Cards in WWII Nose Art

Another popular form of nose art was a kind of tally sheet or score card that illustrated the crew’s or plane’s accomplishments. In this regard, bomber aircraft often had small bomb silhouettes painted on the nose depicting each mission flown. Such depictions were representative of either the crew or the plane itself, as crews sometimes flew other aircraft and not necessarily their own. If a crew flew as the group or wing lead for a given raid, in addition to the bomb silhouette was an accompanying star or the bomb painted in a different color. In some cases, crews included the name of the target in the silhouette.  If the bomber’s gunners claimed a “kill” by downing an enemy aircraft, such victories might also be included on the nose, depicted in the form of an enemy flag or national symbol. Such tallies were nonstandard, with the grouping of missions as unique as the nose art itself. 

The famous B-17 “Memphis Belle” depicts many elements of nose art. A female figure, with bombing missions tallied, stars about the bomb silhouettes denote lead crew missions, along with claimed enemy aircraft downed.

If successful in engaging the enemy, many American fighter aircraft carried “kill markings” that symbolized victory in aerial combat. This was reflected by using the enemy’s national symbol of some kind: a swastika in the case of Germany, a fasces for Italy, and a rising sun for Japan. Most were associated with aerial kills, but some pilots also included aircraft destroyed on the ground. The inclusion of both kinds of kills was usually at the discretion of the pilot himself and often placed near or below the cockpit. However, some pilots placed their tallies on the fighter’s nose near whatever other art the plane might have. 

In addition to kill markings, some fighters might also include tallies of the kinds of missions they flew. Flying “top cover” over a bomber formation could be depicted with an open umbrella icon, while escort duty was reflected with a top hat, gloves, or a walking/swagger stick. A fighter sweep mission looking for enemy aircraft on the ground was often depicted with a broom.  In the ground support role, aircraft destroying a truck, ship, or railroad engine might also include those shapes as part of the tally as well. 

Nose art and tally markings of Lieutenant Richard Loehner’s P38 of the 20th Fighter Group. Note the top cover, escort, fighter sweep, and bombing missions in addition to the art and nickname. American Air Museum in Britain. FRE 5419

Transport aircraft sometimes recorded the number of missions flown. Sometimes a mere tally mark sufficed, but some units often went a step further: C-47s conducting airborne operations often had parachute silhouettes applied for either paratrooper or cargo drops. Aircraft flying sometime recorded medevac missions with a red cross, or glider tow missions with an accompanying silhouette. Similarly, reconnaissance aircraft often included a symbolic camera icon with each representing combat sortie. 

How the art was chosen depended upon the type of aircraft. Single-seat aircraft such as fighters had art usually picked by the pilot, while larger aircraft such as bombers or other multiengine planes often reflected the crew’s collective expression in consultation with the artist.^[xxii] Some units developed a theme or motif for the organization, with the crew determining how their aircraft might fit the larger theme. An example would be the 834th Bomb Squadron, known as the “Flying Zodiacs”: each of its B-24 bombers was painted with one of the 12 astrological signs.^[xxiii] The 80th Fighter Group, nicknamed the “Burma Banshees” flying P-40s in the China-Burma-India theater, had many of their squadron’s aircraft emblazoned with a skull on each side of the plane’s intake, with each depiction slightly different from the others. 

Perhaps the most recognized unit art was the famous shark mouths used by the American Volunteer Groups’ P-40s in China. Interestingly, the shark mouth in various permutations was very common and appeared in every theater and in almost every air force involved in the conflict. Navy fighter squadron VF-27’s F6F Hellcats sported unauthorized yet stylized “cat mouths” with accompanying eyes on the unit’s planes. However, when finally spotted by naval leadership, the unit was ordered to paint over the art. 

Artists creating these depictions were usually ground crew or personnel with graphic skills. Some were professional illustrators in civilian life, with others just having an innate talent. Regardless of their pedigree, leveraging their skills helped them make a few dollars or obtain an extra beer ration on the side while boosting crew morale. Corporal Tony Starcer was one such layman whose famous works included “Memphis Belle,” “Sleepy Time Gal,” and “Shoo Shoo Baby.”[xxiv] While not a professional artist, he painted over 100 works of nose art in the European theater. Perhaps the most critically acclaimed artist was Staff Sergeant Sarkis Bartigian, who worked as a commercial artist after studying at the Rhode Island School of Design. His painting of murals and marquees in civilian life proved useful. In the Pacific theater, he used the large slab sides of the 43rd Bomb Group’s B-24s as his canvas. His most famous work, “The Dragon and His Tail,” used the entirety of the plane’s fuselage.[xxv] Similarly, Staff Sergeant Don Allen, who graduated from the Cleveland School of Art before the war, worked as a mechanic in the 4th Fighter Group. His art adorned the unit’s P-47s and P-51s and he is credited with over 50 works or nose art. He reportedly charged $35 per illustrative work and less for lettering alone.[xxvi]

Many examples of nose art are beautifully rendered and are standalone works worthy of critical praise. But more importantly, they are graphic illustrations that capture and record airmen’s concerns, motivations, sentiments, and the associated zeitgeist. Reflective of such representation, one scholar wrote, “The objects of war are not anonymous weapons, scrap or ephemera, but rather different kinds of matter that  can be seen as embodying and individual’s experiences, attitudes, as well as cultural choices in the varied technologies of production.”[xxvii] In this regard, nose art is more than just art—it’s a time capsule that allows us to appreciate these men, their war, and their collective experiences.