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The Military Art Related Policies in the Japanese Army News Service and GHQ Kim, Jee-Hyun The Imperial Japan mobilized artists systematically to produce military documentary art records under the slogan of ‘paintbrush patriotism’, which means to repay the country with paintings, as Sino-Japanese War began to take shape. The paintings created at that time were acknowledged by the public through the exhibition of warfare paintings. In the process, the war was embellished as a holy war and the Newspaper Group of the Army was at the center of the state power, controlling and planning all these procedures. The Newspaper Group was established in 1919 as the Minister of the Army and was responsible for boosting the fighting spirit with the propaganda campaign, media control and censorship. In particular, it suggested that the war of ideology and the was of weapons were considered as the same and recognized the necessity for a state organization which controls the unified propaganda policy. Art existed to promote the power effectively. From the point of view of power and art, the military as the principal agent of the state power, was the patron to artists and provided them with painting supplies, recommended models and locations, and proposed painting themes. This paper examines the roles and purposes of the military record paintings which were produced under the policy of the military record paintings of the Newspaper Group of the Army. It considers the art which was urged by the country, and examines the collection of battle pictures of GHQ and the process of transferring to the USA from October 1945 to July 1951. It also reviews the continuity of the nature of war which emerges from the cutoff of creating war paintings.