(1350)The Modern Psyche: The Universality of 20th Century European Warfare in the Modern Art of David Levinthal and Roger de la Fresnaye
This art analysis will define the theme of the universality of 20th century modern warfare in the context of modern works of art by David Levinthal and Roger de la Fresnaye. David Levinthal’s “Untitled” (1972) is commentary on the mass killing of modern warfare in the 20th century, which killed many millions of men during Hitler’s invasion of Europe. Levinthal’s childhood imagery of tanks, soldiers, and homes visualize the mass killing of war as a “universal” concept in the depiction of the modern psyche. Roger de la Fresnaye’s “Artillery” (1911) is also a commentary on cubist imagery that projects a military
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This new technological development defines the emergence of universal/total war that changed the field of combat before and during WWI. This piece was obviously painted in 1911 right before WWI, but it presents the historical change from horse-driven combat to the more industrialized methods of canon warfare. By WWI, the rise of tanks and artillery made the French Calvary obsolete, and it gave rise to the modern French infantry. Much like Levinthal’s photographic depiction of tanks and soldiers in WWII, the development of those technologies are defined in Fresnaye’s acute sense of movement in military maneuvers. The use of artillery in WWI would now make it possible to kill hundreds of thousands of soldiers with more advanced industrial development of machine technology. Certainly, Fresnaye is depicting the power and masculinity of the French infantry in terms of the coming devastation that WWI would bring to Europe. The use of artillery was a major change in the field of combat during WWI, which defined the horrors of universal war in the modern psyche. Fresnaye’s cubism illustrates the advancing modernism of early 20th century warfare in the angular and geometric depiction of men and artillery as a new phenomenon in the art world. Certainly, Fresnaye’s painting illustrates the modern psyche of total/universal war in the depiction of modern …show more content…
Levinthal relies on the modern medium of photographic abstraction to depict the universal/total warfare of tanks and soldiers during Hitler’s Blitzkrieg. The rise of total war in WWI and WWII define the technological advancements that made it possible to create weapons, such as tanks and artillery, that could kill millions of men from the early to the middle 20th century. Fresnaye’s Cubist painting of the French infantry also defines the modernism of geometric forms that shape the emergence of industrialized war in the depiction of artillery. Artillery, much like the tank, became a machine of war that could kill or maim hundreds of thousands of men through bombardment. These technological weapons define the era of total/universal war in which massive soldier causalities would redefine he rules of war in a global context. These artistic representations of modern warfare define the modern psyche in terms of the horrors and death brought about in WWI and WWII. The emergence of universal/total warfare is closely associated with the technological styles of these artistic expressions in the modern psyche. Levinthal and Fresnaye depict differing mediums of Cubist and photographic depictions of universal/total war, but they are effective in defining the modern psyche through a
War is seen as a universal concept that often causes discomfort and conflict in relation to civilians. As they are a worrying universal event that has occurred for many decades now, they posed questions to society about human's nature and civilization. Questions such as is humanity sane or insane? and do humans have an obsession with destruction vs creation. These questions are posed from the two anti-war texts; Dr Strangelove by Stanley Kubrick and Slaughterhouse Five written by Kurt Vonnegut.
The three narratives “Home Soil” by Irene Zabytko, “Song of Napalm” by Bruce Weigl, and “Dulce et Decorum Est” by Wilfred Owen all have the same feelings of war and memory, although not everyone experiences the same war. Zabytko, Weigl, and Owen used shifting beats, dramatic descriptions, and intense, painful images, to convince us that the horror of war far outweighs the devoted awareness of those who fantasize war and the memories that support it.
Nevertheless, one of the most important imageries is the fact the rifle itself represents war; thus, the soldier takes so much care of the rifle because the rifle, or the war, once took great care of him by shaping him into the man he is today and, most importantly, by keeping him alive. Imagery, therefore, proves how Magnus delicately transmits information so that an appropriate characterization could take place, which informs the audience about the soldier’s character and, ultimately, the importance of war to the
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.
The Art of War. Translated by Samuel B. Griffith. Oxford: Oxford University Press, 1963. Von Clausewitz, Carl. A. Translated and edited by Sir Michael Howard and Peter Paret.
Throughout Wyoming many landmarks are named after an early French—Canadian trapper. These landmarks include the Laramie River, the Laramie Peak , the Laramie Plains, Laramie County , Fort Laramie , the town of Fort Laramie , and the city of Laramie . Jacques LaRamee (Laramée, Laramé, Laramie , De la Ramie, de la Rame, or La Ramee it is spelled different by almost all the listed sources) was a mysterious man with obvious influence (Chittenden, 1935; Coutant, 1899; Fetter, 1982; McDermott, 1968; Pitcher, 2000). However, there is little known about him. LaRamee’s significance is seemingly lost along with his complete history, but when researched further one can begin to understand his historical impact.
Between the years of 1914 to 1918, the whole of Europe was locked in arms, not only for pride but mostly for survival. The years of war brought devastation upon all societies. Men were massacred in droves, food stuff dwindled, and at times an end seemed non-existent. The foundation of the first Great War, one can muse, began as a nationalistic race between rival nations. By the onset of 1914, once the Archduke Frendinad had been assassinated in Saravejo, the march for war became not just a nationalistic opinion, but now a frenzy to fight. In battle, unlike previous wars, new weaponry caused drastic alterations in strategy. No longer will armies stand to face their rivals on the plains. Now the war will be fought in trenches, hidden underground from the new, highly accurate artillery. In many respects, World War I was a war of artillery, gas, and mechanization. Except as new weapons were becoming essential for battle, the leaders, on all sides, appeared too inept to fight this new style of warfare. Generals, or any leader for that matter higher in the chain of command, sent their troops in massive assaults. Regardless of their losses there were no deviations from the main ideology of sending massive waves of men and shells to take a position. On an individual level, the scene of repeated assaults and mayhem of the front line did little to foster hope for their superiors or even for the naiveté of their fellow countrymen who were not fighting. I submit that in times of sheer madness and destitution, as during World War I, men banded together to form make-shift families for support and companionship when all seemed lost; as exemplified in the novel All Quiet on the Western Front.
Everyone knows what war is. It's a nation taking all of its men, resources, weapons and most of its money and bearing all malignantly towards another nation. War is about death, destruction, disease, loss, pain, suffering and hate. I often think to myself why grown and intelligent individuals cannot resolve matters any better than to take up arms and crawl around, wrestle and fight like animals. In All Quiet on the Western Front, Erich Maria Remarque puts all of these aspects of war into a vivid story which tells the horrors of World War 1 through a soldier's eyes. The idea that he conveys most throughout this book is the idea of destruction, the destruction of bodies, minds and innocence.
George Gittoes (b.1949) creates works that that communicate the issue of the graphic horror of war. A social realist painter, photographer and filmmaker, his approach to art is that ‘he layers and accumulates material until, out of apparent chaos, there is a synthesis of idea, passion and image’ (Mendelssohn, 2014). As an eyewitness to the world's war zones, Gittoes clearly uses his work as a means of communication to society.
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.
Hicks, Patrick. "War, Literature and the Arts." War, Literature and the Arts. An International Journal of the Humanitie, n.d. Web. 6 Dec. 2013. .
In “The Son of Man,” Natalia Ginzburg asserts that while the war did irreparable psychological damage to its survivors, it also gave the young generation enough strength to confront the stark reality of the precarious nature of human existence. Passionately but concisely, through the use of repetitive imagery, fatalistic tone and lack of classic organization, Ginzburg shows how the war changed the world around Man and how Man changed his perception of the world.
Vivid imagery is one way with which writers protest war. Crane uses imagery to glorify, and shortly thereafter demean and undercut war, through the use of imagery, by placing positive and negative images of war close to eachother. “Blazing flag of the regiment,” and “the great battle God,” are placed before “A field where a thousand corpses lie.” (A) These lines’ purposes are to put images into the reader’s head, of how great war may appear, and then displaying that there are too many casualties involved with it. In Dulce Et Decorum Est, a man is described dyin...
...istic maturity was forced out of the struggle to balance her (essentially Marxist) politics and a humanist art that searched for deeper meaning. Coe saw the print medium as a better one for reaching a wider audience than painting; ‘Tragedy of War’ was rabidly about the angry evils of the world reflecting in this case on the American Wars, the blunt, mostly black and white imagery follows the tradition of Goya, Otto Dix and George Grosz. The work can be described as both urgent and timeless. Her most riveting print, War Street, depicts a vast crowd carrying a platform on which the skeleton of Death holds a sickle and rides a dead horse. Pulled behind are the bull and bear of Wall Street. Coe's symbols are grimmer, bloodier versions of newspaper editorial cartoons. Her gritty etched lines make the image seem like a telegram from the time of Europe's Black Death.
...s work The 3rd of May, 1808 is a very detailed and dramatic narrative within a collection of war themed works by the artist. I believe that by using the formal elements of color, texture, shape, lines, space, and the value I was able to sufficiently provide evidence that Goya offers a sequential order of direction for the audience to comprehend from their personal viewing. The twisted and grief stricken work creates a massive emotional connection and the artist plans for the viewers’ to grow and understand this message. The subject highlighted is obvious that Goya is passionate on his stance and outlook on war is suggested in the work. It’s obvious that Goya’s formal organization of his color palette, variation of brushes, repeating shapes, and play with lighting all correspond to depict man’s savage and at times monstrous actions are justified during war.