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Pre Ww1 Expressionism

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During and after World War I, the poor economic status and nationalism in Germany was disastrous, and was a result of a few rebellious artists who made a social criticism through the subjects of their artwork. Some artists such as Max Beckmann, Otto Dix, Kathe Kollwitz and George Grosz were utterly disgusted by the haplessness and casualties from the result of the first world war, and the German Revolution in 1918-1919. There was social injustice, economic depression, malnourishment, cost of living and police brutality that forced these artists to let their voices be heard for social justices, that drove the artists to develop an irrational tone of pre-WW1 Expressionism. A new idealism began to unfold known as the “New Objectivity”, which was an alternative contemporary vision of society. It soon became a popular anti war social …show more content…

The artists showed their patriotism by rejecting movements such as Cubism and Expressionism in favor of more “classical” imagery. “New Objectivity” was significant in modern art history due to the reaction of a social and political issue, and instead of art becoming just expression of the human consciousness, it was more of the aspects of the reality of the social and economic experiences that were affected during World War 1.
(Collective vision 229) One artwork that was significant in the anti-war movement was pillars of society painted by George Grosz in 1926. The oil painting was criticized by Nazis as “Degenerate Art”, because of the cheekiness in Grosz’s artistic attitude towards authority. During the interwar period, the new cultural art movement to protest against the new and superior aesthetic political fascism. Pillars of Society is a grotesque, sarcastic portrait of idealized high political figures of Germany in the 1920’s, when Nazism began to grow in the heart of Europe. In Grosz’s painting, there are two German

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Benedict Arnold, a hero turned infamous traitor, was a soldier that grew up in Norwich, Connecticut and is most known for betraying the American forces fighting the British in the Revolutionary War for independence. Benedict Arnold was born on January 14, 1741 to Hannah Waterman King and Arnold’s father (US History). His mother was very wealthy before having met Benedict Arnold’s father (US History). He was one of the few children of his mother not to pass away to yellow fever. His father was not a very good business and lost the fortune that his mother had before marrying.

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It is easy today for someone to see the effects famous artworks have had: the toy clocks that look like they are melting and dripping off the table, the parodies of artworks on coffee mugs, and the artistic styles that still appear across the world. Many of these products and influences originated from the 1930s. This time was characterized by the Great Depression, upcoming World War II, the entering of communism on the world stage. Economic strife and political orientation found their way into the world of art, helping to develop new movements of Surrealism, Social Realism, and Regionalism along with artists, such as Salvador Dali, that will continue to captivate large audiences for times to come. For much of the decade, Surrealism and Social

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In his essay "Art and Politics, Dissent and Repression: The Masses Magazine Versus the Government, 1917-1918,\" John Sayer definitely offers a particularly compelling analysis of the tensions between art and politics during the tumultuous period of World War I. Sayer examines the case of The Masses, a definitely radical sort of socialist magazine that kind of emerged during this period, and its clash with the US government over issues of censorship and dissent in a particularly major way. One of the key arguments of Sayer''s essay mostly is that The Masses, as a forum for basically radical artistic and political expression, represented a basically direct challenge to the dominant values of American society in a particularly big way. The magazine\'s editors and contributors particularly sought to use art as a means of critiquing generally social and political inequality, and their work often for all intents and purposes reflected the broader cultural upheavals of the time, which for the most part is fairly significant. However, this uncompromising stance brought them into

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The influence of propaganda on the development of art in the 20th century Europe of the 20th century underwent a number of important social, political and economical changes. In an age marked by the rise of nationalism and the two World Wars, by overwhelming scientifical and technological innovation, the arts were facing many challenges caused by the tensions and unrest characteristic for this period of time. With ideologies such as Communism in Russia, Fascism in Italy and Hitler 's Nazism in Germany spreading rapidly through Europe, their propaganda reached the world of art, having a great impact on both the artist and the artwork. This article takes a closer look at the relationship between propaganda and art in the context of a war dominated society, disclosing the diverse façades of ideological influence on the world of arts. Understanding the historical context is a vital condition for a deeper comprehension of the development of arts, when it is so closely tied to the social, political and economical factors.

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