1. HISTORY OF WESTERN CIVILIZATION:
1648 TO PRESENT
LECTURE 21:
RESPONSES TO WWI (THE ARTS)

2. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost Generation
Speaks
1. Reactions to
Modern Warfare
John Constable (1776 - 1837). The
White Horse, 1819. oil on canvas.
51 3/4 in. x 74 1/8 in. (131.45 cm x
188.28 cm). accession number
1943.1.147

3. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost Generation
Speaks
1. Reactions to
Modern Warfare
Claude Monet. Women in the
Garden. 1866. Musée d'Orsay,
Paris. oil on canvas; 10 1/16 x 8
1/16 in. (25.5 x 20.5 cm). RF 2773

4. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost Generation
Speaks
1. Reactions to
Modern Warfare
George Grosz, Suicide. 1916. Oil
on canvas. 100 x 77.6 cm. Tate
Gallery, London, UK.

5. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost Generation
Speaks
1. Reactions to
Modern
Warfare
Fernand Leger, La
partie de cartes
(Soldiers Playing at
Cards), 1917, oil on
canvas, Kroller-Muller
Museum, Otterlo.

6. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost Generation
Speaks
1. Reactions to
Modern
Warfare
Paul Nash, The Menin
Road, 1919, oil on
canvas, 182.9 ﾊ x
317 ﾊ cm, Imperial War
Museum, London.

7. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost Generation
Speaks
1. Reactions to
Modern
Warfare
Otto Dix, Prager Street (1920)

8. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost Generation
Speaks
1. Reactions to
Modern
Warfare
Otto Dix, The Skat Players (1920)

9. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost Generation
Speaks
1. Reactions to
Modern
Warfare
2. Reactions to
Modernity
a. Gender,
Sexuality, and
Race
Marlene Dietrich in The Blue Angel (1930)

10. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost Generation
Speaks
1. Reactions to
Modern
Warfare
2. Reactions to
Modernity
a. Gender,
Sexuality, and
Race John Held Jr., “Insatiable Neckers” and “The Jazz Age” from Life

11. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost Generation
Speaks
1. Reactions to
Modern
Warfare
2. Reactions to
Modernity
a. Gender,
Sexuality, and
Race Zig, J’ai deux amours (1930)

12. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost Generation
Speaks
1. Reactions to
Modern
Warfare
2. Reactions to
Modernity
a. Gender, Sexuality, and
Race
b. Looking to the Future: Dystopia/Utopia
Modern Times (1936)

13. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost Generation
Speaks
1. Reactions to
Modern
Warfare
2. Reactions to
Modernity
a. Gender, Sexuality, and
Race
b. Looking to the Future: Dystopia/Utopia
Metropolis (1926)

14. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost Generation
Speaks
1. Reactions to
Modern
Warfare
2. Reactions to
Modernity
a. Gender, Sexuality, and
Race
b. Looking to the Future: Dystopia/Utopia
Gropius, The Bauhaus Art School

15. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost
Generation Speaks
1. Reactions to
Modern
Warfare
2. Reactions to
Modernity
a. Gender, Sexuality, and
Race
b. Looking to the Future: Dystopia/Utopia
Mies van der Rohe, The Hermann Lange House (1927)

16. "What would concrete be, what steel, without plate glass?
The ability of both to transform space would be limited, even lost altogether; it would
remain only a vague promise.
Only a glass skin and glass walls can reveal the simple structural form of the skeletal
fame and ensure its architectonic possibilities. And this is true not only of large utilitarian
buildings. To be sure, it was with them that a line of development based on function and
necessity began that needs no further justification; it will not end there, however, but will
find its fulfillment in the realm of residential building.
Only here, in a field offering greater freedom, one not bound by narrower objectives, and
the architectural elements forming the basis for a new art of building. They permit us a
degree of freedom in the creation of space that we will no longer deny ourselves. Only
now can we give shape to space, open it, and link it to the landscape. It now becomes
clear once more just what walls and openings are, and floors and ceilings.
Simplicity of construction, clarity of tectonic means, and purity of materials have about
them the glow of pristine beauty."
—Mies van der Rohe. Mies van der Rohe: The Villas and Country Houses. p66.

17. Le Corbusier in 1950
Unite d’Habitation in Marseilles (1946), a self-contained
“vertical city” with its own streets and support services.
The house is
a machine
for living in.

18. Le Corbusier’s vision of the utopian “future city”

19. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost
Generation Speaks
1. Reactions to
Modern
Warfare
2. Reactions to
Modernity
a. Gender, Sexuality, and
Race
b. Looking to the Future: Dystopia/Utopia
Mies van der Rohe, The Hermann Lange House (1927)

20. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost
Generation Speaks
1. Reactions to
Modern
Warfare
2. Reactions to
Modernity
3. Challenging
Bourgeois
Aesthetics
a. Cubism
Pablo Picasso, Les Demoiselles d’Avignon, 1907,
Museum of Modern Art, NY.

21. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost
Generation Speaks
1. Reactions to
Modern
Warfare
2. Reactions to
Modernity
3. Challenging
Bourgeois
Aesthetics
a. Cubism
b. Constructivism
Eli Lissitsky, Beat the Whites with the Red Wedge (1919)

22. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost
Generation Speaks
1. Reactions to
Modern
Warfare
2. Reactions to
Modernity
3. Challenging
Bourgeois
Aesthetics
a. Cubism
b. Constructivism
c. Dada
Dada Exhibit in Germany

23. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost
Generation Speaks
1. Reactions to
Modern
Warfare
2. Reactions to
Modernity
3. Challenging
Bourgeois
Aesthetics
a. Cubism
b. Constructivism
c. Dada
Marcel Duchamp, Fountain (1917)

24. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost
Generation Speaks
1. Reactions to
Modern
Warfare
2. Reactions to
Modernity
3. Challenging
Bourgeois
Aesthetics
a. Cubism
b. Constructivism
c. Dada
Marcel Duchamp, L.H.O.O.Q
(1919)

25. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost
Generation Speaks
1. Reactions to
Modern
Warfare
2. Reactions to
Modernity
3. Challenging
Bourgeois
Aesthetics
a. Cubism
b. Constructivism
c. Dada
Hanna Hoch, Dada-Rundschau (Dada-
Review), 1919, Photomontage, gouache,
watercolours on card, 43.7 x 34.5 cm.
Berlinische Galerie.

26. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost
Generation Speaks
1. Reactions to
Modern
Warfare
2. Reactions to
Modernity
3. Challenging
Bourgeois
Aesthetics
a. Cubism
b. Constructivism
c. Dada
Dora Maar, Pere Ubu, 1936 (French, born Great
Britain, 1909-1997), Gelatin silver print; 15 9/16 x
11 in. (39.6 x 28 cm) Ford Motor Company
Collection. Metropolitan Museum of Art
(1987.1100.101).

27. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost
Generation Speaks
1. Reactions to
Modern
Warfare
2. Reactions to
Modernity
3. Challenging
Bourgeois
Aesthetics
a. Cubism
b. Constructivism
c. Dada
d. Surrealism
Salvador Dali, The Persistence of Memory (1931)

28. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost
Generation Speaks
1. Reactions to
Modern
Warfare
2. Reactions to
Modernity
3. Challenging
Bourgeois
Aesthetics
a. Cubism
b. Constructivism
c. Dada
d. Surrealism
Rene Magritte, Ceci n’est pas une pipe (1929)

29. I. The End of WWI
II. The Peace and the Economy
III. The Response to WWI
A. Russia
B. The Lost
Generation Speaks
1. Reactions to
Modern
Warfare
2. Reactions to
Modernity
3. Challenging
Bourgeois
Aesthetics
a. Cubism
b. Constructivism
c. Dada
d. Surrealism
Luis Bunuel and Salvador Dali, Un Chien Andalou, 1929