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During the time of war, men were called away to fight and women were told to step up into their places. In the post war world, men were told to go back to their normal lives. The simple order for men to return to their jobs was easier said than done. There was no consideration of the effect of war on the men returning. Men were in constant fear of being bombed and attacked by a force that no longer existed. Some were so physically and mentally injured that recovery was slow or unattainable. Otto Dix was veteran himself and knew first hand the effect of war on people, like when men didn’t come home or were so physically and mentally injured that their day-to-day life was changed for the rest of their lifetime. Dix’s work symbolises the themes …show more content…
It was a time of complete control with little given to individuality. As a artist of expressionism Dix was a large target to the Nazi’s. His artwork became a death trap for himself. In order to survive, Dix changed his style to suit what was classed as acceptable by the Nazi’s. Dix’s artwork became stories of landscape and scenery, fine detailed captured the beauty of mountain ranges, meadows and plains. His artwork became politically quiet, and ignored any emotion towards the Nazism regime. Bernina Landscapes (1938) incorporates the contrasting warm and cool colours of blue and brown to embellish the countryside, the colours balance each other as there is more brown then blue, but the darkness of the blue prevents the brightness of the orange from being to over powering. It was painted in a time of repression and stood above other artworks with the lack of political connection and offered an escape from the oppressed society. The orange tones radiate a calm sense and work with the endless light blue and white to create a depth in the art work suggesting that the landscape is endless and has bounds of freedom, contrasting with the reality people lived
War is cruel. The Vietnam War, which lasted for 21 years from 1954 to 1975, was a horrific and tragic event in human history. The Second World War was as frightening and tragic even though it lasted for only 6 years from 1939 to 1945 comparing with the longer-lasting war in Vietnam. During both wars, thousands of millions of soldiers and civilians had been killed. Especially during the Second World War, numerous innocent people were sent into concentration camps, or some places as internment camps for no specific reasons told. Some of these people came out sound after the war, but others were never heard of again. After both wars, people that were alive experienced not only the physical damages, but also the psychic trauma by seeing the deaths and injuries of family members, friends or even just strangers. In the short story “A Marker on the Side of the Boat” by Bao Ninh about the Vietnam War, and the documentary film Barbed Wire and Mandolins directed by Nicola Zavaglia with a background of the Second World War, they both explore and convey the trauma of war. However, the short story “A Marker on the Side of the Boat” is more effective in conveying the trauma of war than the film Barbed Wire and Mandolins because of its well-developed plot with well-illustrated details, and its ability to raise emotional responses from its readers.
There is a major change in the men in this novel. At first, they are excited to join the army in order to help their country. After they see the truth about war, they learn very important assets of life such as death, destruction, and suffering. These emotions are learned in places like training camp, battles, and hospitals. All the men, dead or alive, obtained knowledge on how to deal with death, which is very important to one’s life.
In the history of modern western civilization, there have been few incidents of war, famine, and other calamities that severely affected the modern European society. The First World War was one such incident which served as a reflection of modern European society in its industrial age, altering mankind’s perception of war into catastrophic levels of carnage and violence. As a transition to modern warfare, the experiences of the Great War were entirely new and unfamiliar. In this anomalous environment, a range of first hand accounts have emerged, detailing the events and experiences of the authors. For instance, both the works of Ernst Junger and Erich Maria Remarque emphasize the frightening and inhumane nature of war to some degree – more explicit in Jünger’s than in Remarque’s – but the sense of glorification, heroism, and nationalism in Jünger’s The Storm of Steel is absent in Remarque’s All Quiet on the Western Front. Instead, they are replaced by psychological damage caused by the war – the internalization of loss and pain, coupled with a sense of helplessness and disconnectedness with the past and the future. As such, the accounts of Jünger and Remarque reveal the similar experiences of extreme violence and danger of World War I shared by soldiers but draw from their experiences differing ideologies and perception of war.
In Hemingway’s short story “Soldier’s Home”, Hemingway introduces us to a young American soldier, that had just arrived home from World War I. Harold Krebs, our main character, did not receive a warm welcome after his arrival, due to coming home a few years later than most soldiers. After arriving home, it becomes clear that World War I has deeply impacted the young man, Krebs is not the same man that headed off to the war. The war had stripped the young man of his coping mechanism, female companionship, and the ability to achieve the typical American life.
...nd bloodshed. Women gave a reason to go to war, a reason to come back from the war, and oddly, a reason to want to return to the war. The men were in a fraternity of life, and with no women around for so long they began to rely on themselves, and no longer had the needs that were provided them by women. They wanted to play in the jungle with their friends, only this time with no guns. They missed the life that they spent together eating rations and swapping stories. When they went home they were veterans, like the old men of the World Wars. If they stayed, they were still heroes, warriors, and victims. They still loved deeply the women at home, because they had no reason to fight or bicker, or possibly realize that the women they assumed would be waiting for them had changed in that time. The men were torn between love of women, and the love of brotherhood.
The Roman philosopher Seneca the Younger once said “Perjor est bello timor ipse belli”, which translates to: “the dread of war is worse than war itself”. With this quote, Seneca identifies that war has both its physical and mental tolls on its participants. The psychological and emotional scars of war do much more damage to a solider than the actual physical battles. Tim O’ Brien repeats this idea many years later in his novel “The Things They Carried”, by describing how emotional burdens outweigh the physical loads that those in war must endure. What keeps them alive is the hope that they may one day return home to their loved ones. Yet, the weight of these intangible “items” such as “grief, terror, love, longing” overshadow the physical load they must endure since they are not easily cast away.
One of the worst things about war is the severity of carnage that it bestows upon mankind. Men are killed by the millions in the worst ways imaginable. Bodies are blown apart, limbs are cracked and torn and flesh is melted away from the bone. Dying eyes watch as internal organs are spilled of empty cavities, naked torso are hung in trees and men are forced to run on stumps when their feet are blown off. Along with the horrific deaths that accompany war, the injuries often outnumber dead men. As Paul Baumer witnessed in the hospital, the injuries were terrifying and often led to death. His turmoil is expressed in the lines, “Day after day goes by with pain and fear, groans and death gurgles. Even the death room I no use anymore; it is too small.” The men who make it through the war take with them mental and physical scarification from their experiences.
Giorgione "loved to paint landscapes." Especially in "The Adoration of the shepherds" you can see how much effort he invested in painting a detailed background in form of a piece of coast and part of a village. When isolated this part takes on a life of its own (If concentrating you can see tiny details such as two persons standing at the edge of the coast.
When the war was over, the survivors went home and the world tried to return to normalcy. Unfortunately, settling down in peacetime proved more difficult than expected. During the war, the boys had fought against both the enemy and death in far away lands; the girls had bought into the patriotic fervor and aggressively entered the workforce. During the war, both the boys and the girls of this generation had broken out of society's structure; they found it very difficult to return.
While soldiers are often perceived as glorious heroes in romantic literature, this is not always true as the trauma of fighting in war has many detrimental side effects. In Erich Maria Remarque 's All Quiet On The Western Front, the story of a young German soldier is told as he adapts to the harsh life of a World War I soldier. Fighting along the Western Front, nineteen year old Paul Baumer and his comrades begin to experience some of the hardest things that war has to offer. Paul’s old self gradually begins to deteriorate as he is awakened to the harsh reality of World War 1, depriving him from his childhood, numbing all normal human emotions and distancing future, reducing the quality of his life.
Furthermore, the art piece is only in shades of black and white, which really intensifies the sadness and darkness. The expressions on the faces, the quality of the lines, the texture, and the absence of color capture the deep emotion of the figures in such a compelling way. During the period in which the piece was created, it was popular to paint in a socialistic style. Kollwitz accurately did this in all of her pieces by depicting social movements, peasant uprisings, the impact of war, and the life of the worker. Her style can be categorized even further by saying that it was a form of German expressionism. This
Lawrence Hill Books, c2009 Bracken, Patrick and Celia Petty (editors). Rethinking the Trauma of War. New York, NY: Save the Children Fund, Free Association Books, Ltd, 1998.
... could not help themselves, they were not going to be helped. If struggle were encountered, men had personalized ways to reconnect with the real world, and if a tragedy were encountered which affected the entire company, they also found a combined way to cope with this pressure. The priorities of men during the war shifted greatly toward emotional connections to people and events other than the war, and it was these connections that helped them survive and return home. Coping with the stress and burden of war is not an easy task for anyone, yet in The Things they Carried, O'Brien depicts men dealing and coping as much as they can, using only their primeval resources. They learn how to cope with the barest necessities in life, and they learn how to make use of the smallest opportunities to obtain the most relief and joy from every moment in life.
In this essay, I shall try to examine how great a role colour played in the evolution of Impressionism. Impressionism in itself can be seen as a linkage in a long chain of procedures, which led the art to the point it is today. In order to do so, colour in Impressionism needs to be placed within an art-historical context for us to see more clearly the role it has played in the evolution of modern painting. In the late eighteenth century, for example, ancient Greek and Roman examples provided the classical sources in art. At the same time, there was a revolt against the formalism of Neo-Classicism. The accepted style was characterised by appeal to reason and intellect, with a demand for a well-disciplined order and restraint in the work. The decisive Romantic movement emphasized the individual’s right in self-expression, in which imagination and emotion were given free reign and stressed colour rather than line; colour can be seen as the expression for emotion, whereas line is the expression of rationality. Their style was painterly rather than linear; colour offered a freedom that line denied. Among the Romanticists who had a strong influence on Impressionism were Joseph Mallord William Turner and Eugéne Delacroix. In Turner’s works, colour took precedence over the realistic portrayal of form; Delacroix led the way for the Impressionists to use unmixed hues. The transition between Romanticism and Impressionism was provided by a small group of artists who lived and worked at the village of Barbizon. Their naturalistic style was based entirely on their observation and painting of nature in the open air. In their natural landscape subjects, they paid careful attention to the colourful expression of light and atmosphere. For them, colour was as important as composition, and this visual approach, with its appeal to emotion, gradually displaced the more studied and forma, with its appeal to reason.
...f the shadows is sprinkled with the orange of the ground, and the blue-violet of the mountains is both mixed with and adjacent to the yellow of the sky. The brushstrokes that carry this out are inspired by the Impressionists, but are more abundant and blunter than those an Impressionist would use.