The Surrealist Movement During World War One

Before the war, art commonly featured the Victorian era. The paintings look very realistic before the war. After the war, the Dada movement swung in. Introducing styles of art like cubism, surrealism, and abstract art. A common theme between surrealism and cubism is that both types of art are about distorted reality. This is an effect that World War 1 had on art and people. World War 1 made people question many things (a reason why they called themselves “The Lost Generation”) about their life and what was real. Their reality became distorted, which transferred to their art. This is a major difference between before the war and after. Because before the war, ballets and new innovations were being created. During the war, people were dying or getting amputations. As the war continued lives were ended for no particular cause. Another death was another statistic. This really messed people up, twisting their sense of reality and sanity. Because art is a form of expression, artwork had a drastic change due to the events of World War

In this book, the usage of the surrealism is either used as exaggeration or combine the story that really happened along with what could have or should have happened, or at least O'Brien´s thoughts were included to make a story. Surrealism can sometimes reveal the truth, but at the same time, can confuse the readers or the audience because they would probably not know the truth unless they were present at that moment, when the story took place. Not only it can confuse the readers or the audience, if they do not know the truth and they do not recognize that the story has surrealism in it, they would probably take it as truth. Especially in this book, because the story deals with the war story and the author was a soldier at that war, the audience will hardly find whether the story in the book really happened or not, more likely to not know the situation when the war did not took place in U.S. or happened few decades ago. What makes the surrealism is that when the story contains the word ¨seems¨ and the phrase that contains too many descriptive or figurative languages, because when the story is being descriptive, there are high chance that the writer is making up the story. The author who uses surrealism in their non-fiction book, usually writes the truth with some exaggerations to make the reader more entertaining or describe more so they can understand it better, however, many people

The Bauhaus movement began shortly after the world war 1 in 1919 to re imagine the materialistic good to reflect how we perceive art works. It was a movement initiated by a German architect named Walter Groupius.The Bauhaus movement embraced and emphasized on the simplicity and the basis of a design. (Griffith 2007) The idea behind the movement was to design and manufacture beautiful and practical products using simple and economical techniques. The ideology of the school was not only to reflect society but improve it by combining simplistic beauty with productivity. (Naylor 1968) The Bauhaus implied form follows function which is created by a cross platform of functional craftsmanship in every field whilst experimenting and using different materials.

As a number of leading artists got involved in the War, most of the art campaigns stopped. Individual artistic creations became less radical and started to step down from abstraction to concrete representations. In particular, the program in which the government appointed the artists as war correspondents has resulted in some of the most exceptional artworks of this century. This is, perhaps, because the artists have been exposed to wider issues of human nature, which were absolutely catastrophic and tragic.

Looking into modern art responding on to waged wars on the topic of Surrealism would mean investigating the literature, the time period, and the personalities of the artists to interpret the artwork. The interpretation of Angel Planells piece Midday Sorrow has brought about the research of two other similar artists; Salvador Dali and Joan Miro. Most importantly the impact of the Spanish Civil War on Surrealists in 1932. Angel Planells was a difficult man to find. His description of his works lie behind the other pieces of artwork by great artists of his time.

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 study will investigate the question, “To what extent did WWI impact the mental health of the Lost Generation?” The Lost Generation is the term used to describe the people who were directly impacted by the war. At that time a lot of amazing and influential artwork and literature was being released, but that release quickly ended. Currently, in history, we can look back onto those works of art and capture a glimpse into what life was like for them just after the war, and it doesn’t look pretty. Mental health is a serious issue considering that it can affect every single aspect of everyday life. The articles I have chosen to examine and analyze are that from two different perspectives after the war: a first-person account of a soldier in

After World War One, many soldiers returned from the front-lines with psychological and physical problems: shellshock, missing limbs, and brain damage. For these reasons, people consider the 20 years after World War one, 1919-1939, to be the Age of Anxiety. Because of their psychological problems and alarming behavioral actions, it seemed as if citizens all over the world were anxious; they had never seen a more psychologically messed up group of people before. Psychological problems caused by World War one led to a total pervasive sense of anxiety expressed it intellectual response, artistic movements, and alarming scientific discoveries.

André Breton ran the Surrealist Movement with impressive discipline and rigidity, making an interesting contrast between what the Surrealists preached and the management style of its leader. An interesting story, for example, tells how Salvador Dalí, one of the most prominent members of the Surrealist movement, attended a New York costume party dressed up as Charles Lindbergh’s son, who had been recently kidnapped and murdered. New York’s society did not take the statement well and eventually made Dalí apologize for his behavior. Breton, however, almost dismissed him from Movement because he claimed that “no one should excuse himself for a Surrealist act[6].” This anecdote demonstrates the seriousness of Breton and his Movement towards its final objective: revolution and the slashing of society’s conventions in the interest of a subconscious reality.

Surrealism is a movement that built off of the burgeoning look into art, psychology, and the workings of the mind. Popularly associated with the works of Salvador Dali, Surrealist art takes imagery and ideology and creates correlation where there is none, creating new forms of art. In this essay I will look to explore the inception of the surrealist movement, including the Surrealist Manifesto, to stress the importance of these artists and their work in the 20th century and beyond. I also will look to films from our European Cinema course to express how films incorporate the influence of surrealism both intentionally and unintentionally.

In this discussion, I hope to put a different spin on surrealism and the grotesque by drawing on the works of Sartre, and if we're not too dizzy from spinning when all is said and done, I shall have put together a way to investigate the grotesque in Modernist art and contemporary life. After a summary of the surrealist's use of Freud and a look at Sartre's criticism of surrealism, we will look at surrealism in Sartre's work and derive an existentialist definition of the grotesque and examine how this might reconfigure the surrealist goal of liberation. Surrealist art is almost always analyzed in terms of Freudian psychoanalytic theory because the surrealists openly announced Freud's study of the psyche as the inspiration for the practice of surrealism. Andr‚ Breton, author of the many surrealist "Manifestoes" and the self-appointed spokesman and scribe of the surrealist movement, eulogized Freud, who died in 1939, by writing that: ". .

“World War I was not inevitable, as many historians say. It could have been avoided, and it was a diplomatically botched negotiation,” once said Richard Holbrooke, an American diplomat. Many people worldwide agree with Mr. Holbrooke, believing WWI to be a waste of human lives. Known for its ridiculous start, fueled by the assassination of Archduke Ferdinand, and its huge impact on numerous countries earned it the title of the Great War. Though many people considered it pointless and as a war with many negative repercussions, WWI did lead to some positive outcomes, such as its art. Not only were new movements created, but also new styles of existing forms of art resulted from the war. Because of the different ways that art developed both on and off of the battlefield during the Great War, WWI is one of the most influential wars on the development of art in the twentieth century.

WWI was unlike anything that had ever happened in history, and this created a wide range of topics to study in the field of art. The trauma and despair that was left in the aftermath of the war became a theme in a lot of the art that followed. Artists like George

The surrealist movement of the 1920s-1930s was largely based on the notion that excessive rational thought is a catalyst of conflict and war throughout the world. Salvador Dali’s The Persistence

The art movement that occurred before World War II and that began as a way of protest was the Dada movement. Dadaism was born in Zurich, Switzerland – more specifically in the heart of the night club the Cabaret Voltaire in 1916, founded by leading Dada artist Hugo Ball. Dadaism was an anti-war movement that provided criticism of both capitalist and European culture, creating what was essentially nonsensical art to respond as a way of pitying society and its newfound obsession with war. An early example of artwork from the Dada movement was by one of the defining artists of the movement – Rectangles Arranged According to the Laws of Chance, a paper collage made in 1916 by Jean (Hans) Arp. Dada artists like Arp thought that pure chance itself was an unseen force, and played on the idea on the nonsense that could happen because of this chance. The nonsense and absurdity that chance could create was then comparable to the Dada artist’s views on war. The lack of control that came with the technique differed from tradition of the artist making all the decisions, yet again proving its obscurity. This specific collage of