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An art movement that came from the horror and chaos of World War 1. It came as the aftermath of the war, Dadaism rejected logic while embracing irrationality and spontaneity. It was anti-art, anti-nationalism, anti-bourgeois etc.
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This is a form of Dadaism Assemblage Art that was meant to critique the Mechanization of society, and the lack of individual thinking in society post World War 1. Serves as a strong critique of German Society post World War 1, the art work shows how the war destroyed the human spirit. Raoul Hausmann, Spirit of the Age: Mechanical Head, 1919, Wooden mannequin head with attached objects, 32.5 x 21 x 20 cm -
This art work is rebelling against traditional art with a prominent theme of anti-materialism and money that implied German financial influence over art. The Art Critic has "unseeing" eyes that symbolizes the lack of judgement. Raoul Haussmann, Der Kunstkritiker (The Art Critic)
1919-20, Collage, 12.5” x 10” Tate Gallery, London -
This is a critique on the Weimar Republic touching on the moral bankruptcy and failures on the German Military and government right after World War 1. The chaotic manner the arrangement of the images from the mass media and portraying the German post war reality. Hannah Höch
Cut with the Kitchen Knife Dada Through The Last Weimar Beer-Belly Cultural, Epoch of Germany, 1919-20, Photomontage/Collage, 45” X 35", Neue Nationalgalerie - Staatliche Museen zu Berlin -
This art movement Developed in the 1920's with the purpose to explore what is the subconscious mind, ones fantasies and dreams. This art by is heavily inspired by psychology and the theories of Sigmund Freud. This art consists of techniques of dream imagery to help bring out psychological truth.
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This painting depicts abstracted figures in a chaotic and festive scene portraying and reflecting lower economic status/poverty in his heritage. The Harlequin figure with the hole in the stomach could possibly symbolize hunger and poverty. The elevator is a symbol of escape, the triangle represents the Eiffel tower and the music noter that appear to be alive. Joan Miró, The Carnival of Harlequin, 1924-1925, o/c , 26 x 36 5/8 inches, Albright-Knox Art Gallery, Buffalo, NY -
This painting is a strong critique on the ruling class of Weimar Republic Germany. It touches on the subject of the rising fascism during this period. It is depicting figures as uncaring and selfish individuals. Each character is a pilar of society: The Militarlist, politician, journalist, and clergyman while showing a burning city in the background.
George Grosz, Pillars of Society, 1926, O/C, 78.74” x 45.52” Neue Nationalgalerie - Staatliche Museen zu Berlin -
This is a surreal depiction of a lonely landscape and melting clocks. Exploring the themes of time, mortality, and memory rich in symbolism. The group of black ants symbolize death. The distorted figure is a self-portrait. The empty barren landscape is Dali's homeland and the dry olive tree portraying hopelessness along with the fly and mirror that are symbols of decay and inconsistency of the reality. Salvador Dali, Persistence of Memory, 1931, O/C, 9.5” x 13”, MoMA -
This is an anti war surrealist art work. It is seen as a premonition or visual of World War 2 and the devastation. This is a visual of pre-war anxiety as it was painted two years before the war. The barbarism is the response to Fascism that was brought to modern time civilization. Max Ernst, The Barbarians, 1937, Oil on cardboard, 9 ½” × 13”, The Metropolitan MoA, New York