The First World War and its Artistic Influence

 Ernst Ludwig Kirchner

As a volunteer driver in the military during World War I, Kirchner went from being an artist to a soldier almost overnight. Among what I am sure are many different types of fears, his greatest were injuries to his hands, specifically resulting in full amputation. As an artist you can imagine why this injury would be truly life ending for someone with Kirchner’s ability. Below is a painting that Kirchner did as a self-portrait before his time within the war. Upon inspection you find that his diverse use of color portrays a peaceful atmosphere, however, some have speculated that his intent was to portray the sexual tension in the air while working with this model. This painting clearly portrays his happiness and pride within the artist that he has depicted as his portrait, the robe and pipe giving a sense of relaxation. This portrait is not part of the Early modern era, but I wanted to post it so that this next piece would give you a clear example of how WWI truly influenced Kirchner.

Self-Portrait with Model, 1907 by Ernst Ludwig Kirchner 

This next painting published during the Early Modern Era is titled Self-portrait as a Soldier, essentially to depict his life within the war. The left arm of this soldier is amputated at the wrist, this is not intended to represent an actual injury, but rather the intense fear of Kirchner’s as mentioned above. Aside from this obvious detail, if you compare the skin tone and musculature of the individuals that Kirchner painted between the two periods, you will find the soldier is defined in an almost emaciated state. Kirchner was never actually part of combat, so he never actually incurred this injury. Yet, due to abuse of alcohol and drugs either during his time in war, or after, he developed partial paralysis of the feet and hands. In other words, Kirchner’s overall fear from the war eventually became true.

 

Self-Portrait as a Soldier, 1915 by Ernst Ludwig Kirchner 

You will also see the difference in color between the two paintings, after the war his paintings became different darker tones of color. With darker heavier tones, comes a sense of despair and traumatic difference in his perception of the world. WWI has influenced more than just Kirchner, but I felt his story, and the contrasting paintings to be particularly interesting. Hitler was known for prosecuting artists that produced art that had contradictory themes to the Nazi politics or beliefs. Within Hitler’s reign over art, the Nazi’s put together a parody of an art exhibit to mock those artists that made the list. Over thirty of Kirchner’s paintings were part of this exhibit, possibly contributing to his substance abuse later. Kirchner found inspiration from a group of artists named Die Brucke, a group of individuals who found inspiration in Nietzsche’s metaphor of a bridge erasing the gap between the brutality of the past and the possibility of the future. Die Brucke’s art style is known as “Primitivism”, a style that can be found in a lot of Kirchner’s paintings.

Kathe Kollwitz

 Another WWI influence on art is the rise of printmaking, as many artists turned to this style of art to get the widest dissemination possible. It became popular during the political upheaval that Germany experienced after WWI, as it is much easier to reach many different locations and people using printing rather than writing or speaking. After WWI, the uprising of socialists and communists that began to attempt overall power over Germany met its fair share of pushback and assassinations as a result. These facts bring me to my next artist, Kathe Kollwitz, a German artist who produced pieces solely with the means of printmaking of both art and political pieces in favor of causes that she supported. In Memoriam Karl Liebknecht is a printed piece that brings to light the details of a memorial, the interesting part of this piece is that Kollwitz accomplishes this memorial without showing support or details of his ideology. The memorial is of a communist leader who had been assassinated during one of the many uprising that Germany faced following the aftermath of WWI. Though it references the death of this man, the memorial is intended for all the people that allowed their very last bit of hope to reside in his political views. In essence it shows the result of a loss for hope in politics as the person you root for either loses or is lost suddenly. This piece is in the style of a lamentation, a traditional artistic style within Christianity.

Memorial Sheet of Karl Liebknecht, 1919-1920, Woodcut heightened with white and black ink by Kathe Kollwitz

The artistic development of this print is rather complex and in depth, as the sheet is divided into three horizontal sections. The top section provides the dense foray of individuals mourning their loss, each with detailed expressions and emotion, giving the interpreter a clear view of the melancholy present. The placement for each of these individuals are precise and well thought out, as the intended impact is a full room of mourners but achieving the maintenance of unique details for each face.

The middle section provides details that are fewer in number but just as important to the bigger picture. This level of depth provides the connection between the lower section and the upper section, with a bent mourner whose hand rest upon Liebknecht’s chest.

Above the bending mourner is a woman providing her child a better position to clearly see Liebknecht over those crowded around them. This detail is unique as this woman is surrounded by men of all ages. Possibly highlighting the creative forethought of Kollwitz’s pieces, bringing attention to those most don’t consider to be affected during times of war, women, and children.

Mourning woman holding a child (detail), Memorial Sheet of Karl Liebknecht 1919-1920, by Kathe Kollwitz

This piece is a wood carving that begins as a single slab of wood. The details are carved into the wooden slab and used to produce mass numbers of copies. In this version of prints, the cut out depths remain the same color of the paper while the ink prints the original level of the wooden slab. Kollwitz’s methods were also utilized by many different German Expressionist artists, to include Ernst Ludwig Kirchner and the Brucke group. Essentially this type of art became a well-known version of rebellion against the consequences of war. 

“Nazi” (“Aryan”) Art

Though many artists believed they were safe as word began to break of the decision of what is “Degenerate Art” and what isn’t, that initial belief of safety would be denied. During the reign of the Nazi culture, Hitler began to control different aspects including art. In this eventuality, the terms “Degenerate Art” and “Aryan Art” became known among artists throughout Germany. Degenerate Art is art that Hitler deems to be against or un-supportive of the belief system that they were currently fighting for. For example, Hitler denounced Expressionism with a sense of anger and disgust; even modern art became too relaxed for his taste. Some artists broke ahead of the movement and renounced their styles in time to lead the movement against “Degenerate Art”, while others either weren’t aware or remained strong, ultimately leading to the inclusion within the Degenerate Art Exhibit in which Nazi’s made a mockery of their work. The art styles presented within this exhibit were expressionism, abstract, and objectivism art.

Aryan or Nazi Art was a concept that became defined by what it excluded rather than what it was. In other words, it wasn’t expressionism, or relaxed modern art. Anything that presented problematic for the ideological theme behind it’s depiction, whether it was an ideology that wasn’t clear or seemed to be against the Nazi culture. It became such a vague description that artists all over Germany became fearful and anxious waiting for their art to be denounced and introduced into the mockery.

The Great Exhibition of German Art, or the exhibit for Hitler’s approved selection of pieces contained a piece titled Genius des Sieges by Adolf Wamper. Nazi Art Sculptures were very strict to the parameters of Hitler’s decided upon proper form of the male body. With expressionless faces, but poses of victory and muscles rippled with athleticism. Below is a picture of a room filled of sculptures completed by artists all approved by Hitler. 

The House of German Art

As you can see there was quite an emphasis on sculpting in Hitler’s German Art exhibit. The center piece is Wamper’s piece, a sculpture that depicts a man with raising a sword with an eagle at his feet. Speculation on it’s meaning has defined it as the symbol for national strength and purity, a Nazi belief. The details within this piece’s features and expression provide a sense of ruthlessness, a patriotism for his country and willing sacrifice for a belief. Most of the sculptures allowed into this exhibit show little to no expression, have very defined muscles and provide a stance or pose that depicts an example of victory, strength, or pride. 

Genius des Sieges, 1940 by Adolf Wamper

 The war not only influenced different aspects of life and mindfulness, but the artistic means of expression as well. The control of which Hitler exuded over his country, and the vast consequences that have rippled for so long some Germans would say they still preside, are very haunting and important historical pieces of knowledge. You hear of the devastation and destruction, the loss of life, and newsworthy acts; what you don’t hear of are the effects that begin to build and take over the freedom of expression. Granted, most people would ask why art? After the information I have learned so far in this exploration of art, there is one thing I have learned, art is not harmless. Art has the ability to impower, inspire, and motivate. After understanding that aspect of it, it is no wonder that Hitler’s reign eventually overshadowed the artistic freedom within this country.

References: 

El-Mecky, Dr. Nausikaä, and Dr. Nausikaä El-Mecky. “Art in Nazi Germany.” Smarthistory, https://smarthistory.org/art-in-nazi-germany/.

Roggenkamp, Shawn, and Shawn Roggenkamp. “Käthe Kollwitz, in Memoriam Karl Liebknecht.” Smarthistory, https://smarthistory.org/kathe-kollwitz-in-memoriam-karl-liebknecht/.

Roggenkamp, Shawn, and Shawn Roggenkamp. “Ernst Ludwig Kirchner, Self-Portrait as a Soldier.” Smarthistory, https://smarthistory.org/kirchner-self-portrait-as-a-soldier/.