SHGC Art History

21. Otto Dix

24. Biography Son of a foundry mould-maker, studied at Dresden Art Academy, began reading Nietzsche 1911, volunteered enthusiastically 1914 at age 23. August 1914 trained as artilleryman and later machine gunner. Autumn 1915 on Western Front, then service on Eastern Front, returned 1918 Western Front as aerial observer. Rose to rank of sergeant and saw service at Champagne, Artois and Somme. In interview 50 yrs after war stated: The war was a horrible thing, but there was something tremendous about it too. I didn't want to miss it at any price. You have to have seen human beings in this unleashed state to know what human nature is... I need to experience all the depths of life for myself, that's why I go out, and that's why I volunteered.

26. Card playing war cripples 1920. oil and collage on canvas

27. "Shell hole with Flowers" (1915) and "Trench with Flowers" (1917) earth scarred with wounds from artillery like fertilizing plough furrows or female vulva. In war diary OD stated "Ultimately all wars are fought over and for the sake of the vulva".

31. ‘ Self portrait of Mars’ 1915

33. " Self-portrait as POW" (1947)- humbled, frightened man

41. Print sequence "War" (1923-24): "Dead Sentry" and/or A Dead Sapper Meal Time in the Trenches soldier eats rations oblivious to worms eating dead companions around him A Skull piece of scalp with hair clinging to bone, alive with maggots and insects. Life continues but independently of human life. In war drawings war was creative force like fertility of women. In post-war period OD turned to drawing prostitutes and victims of sex-murders. Perversion of his wartime view - war no longer creative/procreative but war as rape: A Shell Hole with Flowers (Rheims 1916) "Rape and Murder" () prostitute murdered and mutilated (sex organs cut open and exposed) while two dogs copulate in foreground. Similar change in post-war self-portraits - war brings out bestiality in men: "This is How I Looked as a Soldier" (1924) or "Self-portrait as a soldier" (1924) belligerent machine-gunner striding threateningly towards viewer, arrogant look about him Depicted war veterans as crippled (physically and emotionally?). Often placed his own name or likeness somewhere in drawing to suggest OD was both victim and perpetrator. Wartime interest in technology transformed into cynical interest in prostheses" "War Cripples" (1920)

47. Hannah Hoch