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With the future of Germany an uncertainty, many avant-garde artists, including George Ehrenfried Grosz, were inspired by the Russian Revolution and formed the Berlin Dada Club (McCloskey 45). They believed classic Marxism was the best solution to the turmoil in Germany (McCloskey 46). They thought the major social, economic, and political turmoil in Germany stemmed from the bourgeoisies oppression of the proletariat and dedicated their art to ending the war and revolutionary change.
George Ehrenfried Grosz (1893-1959) was born in Berlin, Germany, and emerged as one of the leading German political artists between World War I. His artwork during the 1920s reflected the appalling conditions in Berlin that resulted from the German loss of World War I, which included: food shortages, staggering inflation, the sight of war cripples begging in the streets, rampant prostitution, and widespread violence. As the German military began to accept the loss of the war, Grosz became increasingly involved with left wing activities and publishing his revolutionarily motivated art. His sentiments were fueled by a close relationship he developed with two brothers, Weiland Herzfelde and John Herzfelde (or John Heartfield as he called himself). Grosz had met Heartfield while in the infantry and they both decided to Americanize their names as protest against the German military (George Groszs given name was Georg Gross) (McCloskey 20). The Herzfelde brothers had been influenced by their parents to have strong socialist views and revolutionary attitudes. Their father was a socialist writer and their mother a textile union organizer. Grosz and the Herzfelde brothers, the historian Beth Lewis pointed out, "shared a common conviction that the war was not only despicable, but that it was lost" (Lewis 42). Grosz also believed that the common soldier had an interest in not wanting the war to end. He reasoned that the accepted violence in the
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The result of the engagement was the development of massive battalion of soldiers whose life was changed by involvement in the war. Majority lost their lives while others were not amputated and became disabled. The psychological effect of the war was massive with the engagement of several medics and counselors in avid to reshape the war veterans back in to the society.
According to the paper dada refers to a cultural movement that started after the First World War; this form of movement mainly encompassed cultural changes in literature, design, theatre, as well as visual arts. The various techniques of Dadaism used to be prevalent in designs during the 20th century. One of the most significant ways in which Dada influenced design during the late 20th century was through the use of collage and montage.
Yet, while a number of politicians and economists sharply changed their outlook after such major events, Keynes thoroughly analyzed the new experience.
In his monumental work The Economic Consequences of the Peace Keynes critically analyzed the effects of Versailles Pease and particularly the effects of the Treaty on Germany.
This essay states the surrealism and dada. It was the first form of ‘anti-art’; a method of creating visual pieces which need not follow any rules or fall within any specific style to be ‘beautiful’; indeed aesthetic-based art was not the intention at all here. The intention was to step out of the box, to refuse to follow the bourgeois modern cultural.
This essay discusses the dada and surrealism. In short, it is a period within which artists agreed on similar (general) principles and created art with similar features that can be classified under the same category. The said, agreeing principles may be guided by religion, society, culture, technology, or time, to mention but a few.
avid Shi are among the prominent historians whose research and writings about the World War I each takes on a personal narrative as though to develop impressions of truth under varying degree or color in reading audience’s minds. Why not? On one hand, Johnson presents a notion
On that note, Dadaism sought to debunk from all forms of traditional philosophies guiding virtually every, in this case art. Dadaism agitated against the traditional rigidities in the field of art. This paper seeks to agree with the theory that influenced the