Erster Deutscher Herbstsalon

2018 ◽  
Author(s):  
Lucy Watling
Keyword(s):  
World War I ◽  
Large Scale ◽  
Modern Art ◽  
World War ◽  
Wassily Kandinsky ◽  
Avant Garde ◽  
International Exhibitions ◽  
Blaue Reiter

The Erster Deutscher Herbstsalon [First German Autumn Salon] was one of the most important large-scale international exhibitions of Modern art to be shown in Germany before World War I. Staged in derelict rooms on Berlin’s Potsdamer Strasse between 20 September and 1 December 1913, the exhibition included over 360 works by some 90 artists. It was organized by the Berlin writer and critic Herwarth Walden (1878–1941) under the banner of his Der Sturm Gallery, working in collaboration with a group of Expressionist artists including Wassily Kandinsky, August Macke and Franz Marc, known by their collective name Der Blaue Reiter. The exhibition’s title was taken from the Salon d’automne, an annual display of avant-garde art which had taken place in Paris since 1903. Many in Germany—in particular the Blaue Reiter artists—increasingly felt that the development of modern art was no longer being adequately represented by these Paris shows. As Walden wrote in his foreword to the catalogue, the Erster Deutscher Herbstsalon sought to "give an overview of the new movements in the pictorial arts of all countries," that would "at the same time…broaden our view of the contemporary."

Wadsworth, Edward Alexander (1889–1949)

2018 ◽  
Author(s):  
Kitty Hudson
Keyword(s):  
World War I ◽  
Large Scale ◽  
English Abstract ◽  
Wyndham Lewis ◽  
World War ◽  
Abstract Group ◽  
Avant Garde ◽  
Active Service ◽  
Individual Style

Edward Wadsworth played an important role alongside Wyndham Lewis in the short-lived avant-garde movement of Vorticism in 1913–1914. He continued to work in the abstracted, geometric style associated with the movement throughout World War I, though very little work of this period remains other than his woodcuts. After returning to England from active service in 1917, Wadsworth worked on the camouflage of shipping, known as "dazzle painting," and produced a large canvas entitled Dazzle Ships in Drydock at Liverpool (1919). The 1920s saw Wadsworth turn to the theme for which he is best known: the precise and realistic harbor scenes and maritime still lifes, largely painted in tempera. This highly individual style was often dubbed "surrealist" though Wadsworth did not encourage this association. His compositions became progressively more abstract in the early 1930s and, in 1933, Wadsworth joined the English abstract group "Unit One"; however, the following year he abruptly returned to his familiar marine paintings. Large-scale commissions included paintings for the smoke rooms of the Cunard ship Queen Mary and, during the 1939–1945 war, he produced advertising images for ICI. After 1945 his work tended once again towards the abstract, though always maintaining a link with earlier natural motifs and geometric forms.

scholarly journals Symbolism at war: Charles Ricketts and the politics of the stage

2021 ◽  
Vol 51 (3-4) ◽  
pp. 318-336
Author(s):  
Ana Parejo Vadillo
Keyword(s):  
World War I ◽  
World War ◽  
Avant Garde ◽  
Political Landscape

This article considers the effect of World War I on Charles Ricketts’ work for the stage as an avant-garde set and costume designer. It looks at his cosmopolitan designs in the context of European symbolism. The first part of the essay focuses on Ricketts’ symbolist manifesto ‘The art of stage decoration’ (1913). The essay then examines his designs for three Shakespeare plays that toured Le Havre in 1918 to entertain the troops. I argue that, in the aftermath of the war, Rickett’s symbolism became the lens through which he assessed the complex political landscape of the 1920s, and suggest that his stance against realism politicized his practice and explains his interest in Mussolini’s fascism.

scholarly journals Sztuka i architektura dla II Rzeczypospolitej

2020 ◽  
Vol 147 (4) ◽  
pp. 869-881
Author(s):  
Andrzej Szczerski
Keyword(s):  
World War I ◽  
Modern Art ◽  
Dynamic Processes ◽  
Art Patronage ◽  
World War ◽  
Leading Role ◽  
State Administration ◽  
The World ◽  
Administrative Structures ◽  
Art And Architecture

Art and architecture for the Second Polish Republic The period of the Second Polish Republic was a time of dynamic processes of unification and modernisation. They were also reflected in art and architecture. This should not come as a surprise given the fact that Polish artists were involved in the struggle for independence on the battlefields, while they also documented Polish military efforts during the World War I. Later on, they held positions in the state administration, especially in the administrative structures responsible for art patronage and education; finally, they were also active in the field of national propaganda. The authorities of the Second Polish Republic appreciated the importance of modern art, especially that the restoration of independence coincided with a debate about the various definitions of the Polish national style. This debate, which involved supporters of vernacular stylisation and those who promoted modernism, found its complex reflection in the Polish General Exhibition in Poznańin 1929. The exhibition confirmed that the leading role in the process of modernisation was assumed by architecture and urban planning.

World War I Conscription and Social Change in Guinea

1978 ◽  
Vol 19 (1) ◽  
pp. 25-38 ◽  
Author(s):  
Anne Summers ◽  
R. W. Johnson
Keyword(s):  
Social Change ◽  
World War I ◽  
Large Scale ◽  
World War ◽  
Political Movement ◽  
Railway Line ◽  
Military Conscription ◽  
Social Grouping ◽  
The Moment ◽  
The Individual

When the French government introduced military conscription into the A.O.F. in 1912, the Guinean colonial authorities saw the measure as a means of training a local administrative corps to replace the traditional chieftaincy, through whose military defeat the conquest of Guinea had very largely been effected. However, the chiefs had by no means disappeared by 1914, and wartime demands for recruits were too massive to be supplied without their assistance. Their help was bought with promises to consolidate their authority in peacetime. Although able to marshal recruits, the chiefs seem to have been unable to prevent large-scale desertions before the moment of embarkation for France; village populations could also avoid conscription by overland migration out of the A.O.F. The colonial authorities therefore felt constrained to offer substantial inducements, mainly concerning improved social status vis-à-vis the chiefs, to the individual recruits. These contradictory policies were compounded by the recruitment drive of Blaise Diagne in 1918, which involved a further promise to recruits of improved status vis-à-vis the French authorities. The return of ancien combattants to Guinea was marked by outbreaks of strike action among workers in Conakry and along the railway line; by riots in demobilization camps; and by rejection of or agitation against chiefly power in the home cantons to which they dispersed. The anciens combattants did not form a coherent or organized political movement, but remained a conspicuous social grouping between the wars. Although they appear to have been strongly influenced by their experience of war and by contact with French socialists, their conflict with the chiefs seems to have counted for more with them than any confrontation with the French.

The Impact of Alternative Exhibition Spaces on European Modern Art before World War I

2021 ◽  
Author(s):  
Nirmalie Alexandra Mulloli
Keyword(s):  
Twentieth Century ◽  
World War I ◽  
Modern Art ◽  
Social Conditions ◽  
Social Spaces ◽  
World War ◽  
The Impact

Exhibitions of modern art at the beginning of the twentieth century help to signify, in structured and identifiable nodes, the points at which the evolving visual forms of modernism were societally sanctioned and integrated into an accepted notion of what constituted art. Limited consideration has been given to examining the broader acceptance of alternative exhibition venues, previously peripheral or ephemeral, as social spaces and to considering the affect these alternative socio-spatial constellations had on the reception of the art being exhibited. By analyzing the shifting social conditions of art reception that these exhibiting spaces represent, this chapter presents a novel contextual view of how modern European artists flourished during this time in unprecedented ways.

Grosz, George (1893–1959)

2018 ◽  
Author(s):  
Barbara McCloskey
Keyword(s):  
United States ◽  
New York ◽  
World War I ◽  
Social Order ◽  
The United States ◽  
Early 20Th Century ◽  
World War ◽  
New Objectivity ◽  
Avant Garde ◽  
George Grosz

George Grosz was a leading artist of Germany’s early 20th-century expressionist, Dada, and New Objectivity movements. His works from this period remain celebrated examples of the modernist avant-garde. Grosz began his career as a student at the Dresden Academy of Art in 1909. In 1912, he moved to Berlin, abandoned the academic rigor of his earlier work, and became part of the Expressionist avant-garde. His paintings and drawings soon adopted the fractured planes, vivid color, and psychologically troubled content of Expressionist art. Grosz became politically radicalized by the outbreak of World War I in 1914. He helped to found Berlin Dada during the war years. His irreverent cut and paste Dada collages of this period assailed not only the concept of ‘‘art,’’ but also the vaunted notions of culture, militarism, and national pride that were part of a German social order Grosz had come to despise. At the end of World War I, Grosz joined the German Communist Party and became its leading artist. He fled to the United States in order to escape persecution after Hitler’s appointment as Chancellor in 1933. Grosz settled in New York, where he pursued his art under the utterly changed circumstances of exile.

The Theory of Lateral Pressure: Highlights of Quantification and Empirical Analysis

2017 ◽  
Author(s):  
Nazli Choucri ◽  
Gaurav Agarwal
Keyword(s):  
Sustainable Development ◽  
World War I ◽  
International Relations ◽  
Empirical Analysis ◽  
Large Scale ◽  
Lateral Pressure ◽  
Second Phase ◽  
Dynamics Modeling ◽  
World War ◽  
Wide Range

The term lateral pressure refers to any tendency (or propensity) of states, firms, and other entities to expand their activities and exert influence and control beyond their established boundaries, whether for economic, political, military, scientific, religious, or other purposes. Framed by Robert C. North and Nazli Choucri, the theory addresses the sources and consequences of such a tendency. This chapter presents the core features—assumptions, logic, core variables, and dynamics—and summarizes the quantitative work undertaken to date. Some aspects of the theory analysis are more readily quantifiable than others. Some are consistent with conventional theory in international relations. Others are based on insights and evidence from other areas of knowledge, thus departing from tradition in potentially significant ways. Initially applied to the causes of war, the theory focuses on the question of: Who does what, when, how, and with what consequences? The causal logic in lateral pressure theory runs from the internal drivers (i.e., the master variables that shape the profiles of states) through the intervening variables (i.e., aggregated and articulated demands given prevailing capabilities), and the outcomes often generate added complexities. To the extent that states expand their activities outside territorial boundaries, driven by a wide range of capabilities and motivations, they are likely to encounter other states similarly engaged. The intersection among spheres of influence is the first step in complex dynamics that lead to hostilities, escalation, and eventually conflict and violence. The quantitative analysis of lateral pressure theory consists of six distinct phases. The first phase began with a large-scale, cross-national, multiple equation econometric investigation of the 45 years leading to World War I, followed by a system of simultaneous equations representing conflict dynamics among competing powers in the post–World War II era. The second phase is a detailed econometric analysis of Japan over the span of more than a century and two World Wars. The third phase of lateral pressure involves system dynamics modeling of growth and expansion of states from 1970s to the end of the 20th century and explores the use of fuzzy logic in this process. The fourth phase focuses on the state-based sources of anthropogenic greenhouse gases to endogenize the natural environment in the study of international relations. The fifth phase presents a detailed ontology of the driving variables shaping lateral pressure and their critical constituents in order to (a) frame their interconnections, (b) capture knowledge on sustainable development, (c) create knowledge management methods for the search, retrieval, and use of knowledge on sustainable development and (d) examine the use of visualization techniques for knowledge display and analysis. The sixth, and most recent, phase of lateral pressure theory and empirical analysis examines the new realities created by the construction of cyberspace and interactions with the traditional international order.

scholarly journals Zenitism and orientalism

2021 ◽  
pp. 29-45
Author(s):  
Iva Glišić ◽  
Tijana Vujošević
Keyword(s):  
World War I ◽  
Balkan Peninsula ◽  
Black Atlantic ◽  
Striking Similarity ◽  
World War ◽  
Negative Stereotypes ◽  
Avant Garde ◽  
The Balkans ◽  
Global Demand ◽  
The Aesthetic

Reflecting on the centenary of the birth of Zenitism, this essay examines how the movement engaged with stereotypes about the Slavic Orient, and in particular the discourse on Balkanism. The European orientalist reading of the Balkans became especially profound in years surrounding the World War I. Seeking to invert derogatory characterisations of the Balkan Peninsula, Zenitists would embark on a mission to "Balkanise Europe" by presenting the artist from the East as a rejuvenating, revolutionary force emerging from a cultural tabula rasa. Zenitism sought to destabilise the dominant Orient-Occident discourse by establishing parallels between existing negative stereotypes of the Balkans and the aesthetic tropes of the European avantgarde. Specifically, Zenitists established the Balkan "Barbarogenius" as the archetypal modernist primitive - precisely the figure conjured by the European intelligentsia as the saviour for its listless modern condition. In addition, the Zenitist movement established an analogy between the hallmark fragmentation of the Balkans and the cultural cacophony of the avant-garde. The political and aesthetic strategies of the movement, the authors assert, bear a striking similarity with those of the Black Atlantic, and its 'in-betweenness'-its ambition to straddle two opposing worlds. Organised around its eponymous journal Zenit, which was conceptualised as "the first Balkan journal in Europe and the first European journal in the Balkans," Zenitism employed European avant-garde aesthetic strategies while simultaneously rejecting European claims to cultural supremacy. For Yugoslav, Soviet, and Western European audiences, the journal had two parallel goals: the creative "Balkanisation" of Europe, and a commitment to dismantling Yugoslav "nesting orientalisms" by fighting against the reproduction of negative stereotypes among the region's own inhabitants. Against a backdrop of European crisis and a global demand for a renewed emancipatory struggle, the ambition of Zenitism holds strong appeal today.

The Homosexual Scare and the Masculinization of German Politics before World War I

2014 ◽  
Vol 47 (4) ◽  
pp. 737-759 ◽  
Author(s):  
Norman Domeier
Keyword(s):  
World War I ◽  
International Relations ◽  
Large Scale ◽  
Sexual Morality ◽  
World War ◽  
German Politics ◽  
Political Events ◽  
Dreyfus Affair ◽  
Domestic Affairs ◽  
The Military

It may seem strange today to study aspects of the political sphere—from foreign policy to diplomacy and the military—in the context of sexuality. But the Belle Epoque (1871–1914) was an era of prestige politics, also with respect to the politics of sexuality. This article reveals how the Eulenburg Scandal of 1906 to 1909 used sexual morality as a way to explain and interpret the tensions that pervaded Germany's domestic affairs and international relations. The reliance on sexual mores as an explanation for large-scale political events was the result of an ever-intensifying chain of national and international complications—complications that later undermined Germany's sense of national honor. The Eulenburg Scandal is remembered today mainly as the first major homosexual scandal of the twentieth century, but contemporaries experienced it in a wider sense: it became Germany's counterpart to the Dreyfus Affair in France—two examples of political, social, and cultural conflict that threatened the foundations of their respective countries.

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