The Extent to Which World War I Influenced the Dada Artistic Movement

The piece of art that the paper will analyze is "Sleeping Girl." Roy Lichtenstein painted "Sleeping Girl" in 1964, as part of his work in pop art & pop culture. Another artist who painted in the style of pop art was Andy Warhol, just to add context with whom Lichtenstein kept artistic company. "Sleeping Girl" is a seminal work in a series of paintings in comic book style. Comic book culture saw a huge surge after WWII and so did pop art. These artistic forms expressed a desire to escape from the horrors and great changes around the world after the war. Artists such as Lichtenstein tapped into these desires producing mash-ups of popular art forms to express an even more layered message. "Sleeping Girl" is directly influenced by DC Comics, as it is a rendition of an image found in Girls' Romances, #105. It was a very bold statement in the 1960s and in the 21st century, to bring a popular culture form into the realm of high art. This painting, while one in a series with similar aesthetics, "Sleeping Girl" is additionally a painting with a similar theme across Lichtenstein's entire body of work the idea of the sleeping female muse.

World War I was a war that shocked the world and brought about new emotions that created a large wave of “-isms” as well as the “lost generation” of writers. Modern art was catalyzed by World War I and without a thorough study of the various forms of art that resulted from it, modern art and the tremendous effect that World War I had on the people of the world cannot be fully understood. This historical investigation will cover a few aspects of the art that resulted from World War I so that a general idea of the emotions shared by the people of the world can be known. A few paintings that represent specific movements will be studied to understand the artistic movement. A number of museum exhibitions will be studied along with government websites, databases, and museum websites, especially from the Museum of Modern Art.

Impactful across the globe, both Dada and Surrealism were artistic movements created in the early 20th century that were significant in redefining modern art today. The Dada movement came about in 1916 through the performance of Hugo Ball’s sound poem “Karawane” at the Cabaret Voltaire that he opened with his partner, nightclub singer Emmy Hennings, in Zurich, Switzerland. The poem made absolutely no sense, purposely, and it didn’t have to. Ball would also dress in wild costumes for his performances as seen below:

This essay analyses the aesthetic and ideological underpinnings of the Modernist artwork, Impression, Sunrise of Claude Monet. The artwork and Impressionism is considered to be a visual articulation of the avant-garde and the latter statement is explained. References to the writings of Charles Harrison, Clement Greenberg and Wilhelm Worringer is used to theorise the aesthetics of modernity.

Overall, the ideologies discussed within the articles Written In Blood: 20th Century Art by Stephanie Dudek and Estrangement As A Motif In Modern Painting by John Adkins Richardson address similarities and differences from various standpoints. Modernistic ideologies towards social, cultural and technological changes of the 20th century are demonstrated in both articles. The article by Stephanie Dudek emphasizes on the employment of radical and transgressive values by modern artists within their work to target cultural, and artistic principles that have persisted over many generations leading to a transformation within the subject of art (Dudek 105). Furthermore, modern art set out to obtain new visions of reality as witnessed within the Cubist

Although there are significant distinctions between Dadaism and Surrealist movement in their focus of interest in exploring the language and the art, they also happen to have similar concept for groundbreaking the norms and sometimes makes it hard for people to differentiate them. Then, here is an artist who manage to cover and is considered to be one of the pioneers for both Dadaism and Surrealism: Max Ernst. Due to the traumatic army experience during the World War 1, Ernst became highly critical of the western culture. His experience of the brutality of the world critically influenced his later works to become quite absurd, yet interesting like those of other Dadaists. In terms of relationship between the word and the image, Ernst created the so-called fatagaga, or Fabrication de Tableaux Gasometriques Garantis, which meant the combination of the artists to create an artwork including imagery and text. These Dadaist collaborative works deemphasized the importance of individual authorship and allowed the artists’ interactions to further development of Dadaism.

Dada was an artistic and literary movement that grew out of dissatisfaction with traditional social values and conventional artistic practices during World War I. Dada artists were disillusioned by the social values that led to the war and sought to expose accepted and often repressive conventions of order and logic by shocking people into self-awareness. Marcel Duchamp was one of the first to participate in this movement. He is known for his satirical or humorous content and the use of accompanying text. Duchamp began to grow disappointed with “retinal” art though, and soon stopped painting on canvases altogether. He then moved out of the already existing boundaries of art into was is now called conceptual art. His monumental work is known today as The Bride Bare by Her Bachleors, Even, or The Large Glass. Duchamp worked on this piece for eight years, until he abandoned it in what he referred to as a “definitively unfinished” state. This piece of work includes humor, random chance, pessimism, and anti-art; these four elements are often found in Dada art.

Experiencing something like scarred many people, Dadaism came about as a way for some of the artists at the time to deal with what had happened. The chaotic art style of Dadaism very much paralleled the confusion and chaos everyone was experiencing coming out of one of the world's worst conflicts. Desperately wanting to move on from the pain and destruction of the First World War, these artist began to mock and challenge what was accepted as art. Dadaism used the accepted style of art from previous movements as mockery, to shake up people's perception of what art actually is. The large reversal of ideals of Dadaism, was again encountered as De Stijl began to gain popularity, where Dadaism created chaos from the previous order, De Stijl used Dadaism's mentality of change to return to an ordered

Tremendous technological advance and tremendous slaughter leave an artistic waste land of atrocity, emasculation and pointing posters used to manipulate the public into recruiting men to join the military around the globe. Skilled illustrators in America, less inventive but artistic allegory’s in Canada and France and plain typography in Britain leave many artists busy with supporting the war effort. On the outskirts of war were a contingency of international peoples with little means and a negative view of European culture and war that chose to defect to Switzerland where they created the art movement known as Dada.

Marshall Berman’s take on modernity is presented in his book All That Is Solid Melts into Air whereby he focuses on its issues and the cultural attitudes and philosophies towards the modern condition. In doing so he shares his experiences of modernity post WWII in New York in the height of an economic boom and then more specifically of his childhood neighbourhood, the Bronx. In addition to expanded austerity, industrial and architectural development, the end of WWII proved to be a key period in world history and by extension the history of art. A talented group of artists emerged in result that had been influenced by an influx of established European artist who had fled to New York to escape fascist regimes in their homelands. More importantly these artists produced art that was at the heart of maelstrom Berman describes in regards to his experience of modernity. I aim to highlight the correlation between Berman’s experience of modernity and the emergence of a new American modernism. Modernity throughout this period was broken into two different compartments, hermetically sealed off from one another: "modernisation" in economics and politics, "modernism" in art, culture and sensibility. It’s through the lens of this dualism in which we recognise that both Berman and these artists try to make sense of the world around them by making their individual expressions that would re-conceptualise what it is to be modern in the twentieth century.

Krauss is purely a structuralist and discontent with the terms modernist. Her critic and analysis in this essay is an extension of Greenberg, who believed that the work in objective terms; structure and medium, that later deferred to a subjective response and/or effect; abstraction art. Traditional sculputure had been lost it was not architecture and not

In this essay, I will be discussing the two movements ‘Dada’ and ‘Futurism’, with reference to their conceptual contexts and representative plays, there will also be analysis to how these two movements contrast to realism/ naturalism. Links will also be made to the plays, with the use of scholarly sources to back up the argument and then coming to a final conclusion at the end of the essay.

Dada was a radical art movement started in 1914 and ended in the mid 1920’s mainly in the North Atlantic. It was created as a form of protest against World War 1 by immigrants who wanted to express a new kind of mentality in the world of art and politics at the time. Dada was the reaction and rejection of traditional society and the atrocities of World War 1 by artist of that era. It reflected their desire to oppose convention and boundaries and establish art in a new light, breaking down stereotypes and forcing people’s perception of art to be broadened.

At the turn of the century Paris was one of the capitals of culture and art to the outside world. However, the truth of the matter was that this taboo-ridden society was being run by an aristocracy that was repressing the arts. Naturally, when World War 1 broke out, the suppressed French society finally had a release and a rebellion against order arose. WWI specifically affected the theatre of French and it’s aftermath. From the ashes of war the avant-garde theatre grew and styles such as Dadaism and Surrealism were born. It was both the climate of culture before the war and the devastation of the war that lead to the outbreak of avant-garde theatre in France.

Edouard Manet, an artist most commonly known in relation to the advent of modernist art, is credited with introducing such painterly techniques as producing flatness in painting, and, a layering down of hues (alla prima). He is regarded as the father of modernité, having many written works have been produced as supplements, responses or studies of his paintings and influences in art—three of which I present as subjects of scrutiny in this paper: the Painter of Modern Life by French poet and essayist Charles Baudelaire, who produced several essays in relation to the phenomenon of modernity (as both modulator and interpreter) Manet and the Object of Painting by Michel Foucault, a French philosopher and critic, and Modernist Painting by Clement Greenberg, a mid-20th century art critic. In each of these respective pieces, I will be analyzing closely the