To address the question posed in the title directly, while the great man clearly had his flaws there is a consensus among reputed authorities that Churchill's personal style of management was fundamental if not essential to the success of the war time coalition government. History suggests that he was perhaps a man for war, rather than peace, and that his personal style leant itself very much to the management of a state of hostility rather than more mundane affairs, but this does not detract from his towering stature as one of the leading politicians of the twentieth century. That is set in stone. It can always be argued that Churchill’s success was due in large part to the unique political environment of the day and other exogenous factors. He was certainly able to exploit the celebrated wartime spirit of unity and cooperation that existed in wartime Britain. However, that is a valuable management skill in itself and to seek to diminish Churchill’s own contribution by these means would be both niggardly in the opinion of this commentator and to deny the judgment of the foremost commentators of the age.
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The expression on the pig’s face is perhaps what would draw the viewer into this picture the most. It directly contradicts the gruesome depiction of decapitation and appears almost to be laughing. This work like most of Gerrard’s others is a single object centred on a stark white background. The amount of empty space in this picture is very eye catching and directs the viewer’s vision inwards, there is no chance of distraction by details in a menial part of the work. Once again Gerrard uses charcoal in his personal style, leaving the artwork in black and white. This lack of colour is cold, it presents the reality of the grisly scene without the embellishment of colours. This does not allow the audience to be caught up in what is ‘pretty’ but forces them to take in every details in it’s highly realistic, and perhaps disturbing, state. The shock factor of this piece is emphasised ten- fold by the sheer size. It cannot be realised until you view this piece in reality, but being dwarfed looking up into a pig’s head captured mid laugh brings upon you a bizarre sense of fascination.