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1. War, Tradition and Modernism History of Germany Lecture 7

6. Was will der Stahlhelm? Propaganda poster of the Stahlhelm Stahlhelm decoration 1925

10. Hindenburg’s coffin is carried into the central courtyard of the monument

11. War memorials

13. Modernism A break from the past and a search for new expression. A faith in new technology and aesthetics to solve problems of society.

15. Otto Dix, Flanders (illustration for the novel “The Fire" by Henri Barbusse), 1934-36

16. Otto Dix, Gesehen am Steilhang von Cléry-sur-Somme (“As seen on the steep slope of Cléry-sur-Somme”) 1924

17. Otto Dix, Triptychon “ The War ”, 1929-32

19. “ Armament is necessary” John Heartfield 1932

21. Käthe Kollwitz, Pietà, 1937

28. George Grosz . Germany: a Winter's Tale. 1917/19. Oil on canvas. Whereabouts unknown.

29. What a b what a b what a beauty What a b what a b what a beauty What a b what a b what a a What a beauty beauty be What a beauty beauty be What a beauty beauty beauty be be be What a be what a b what a beauty What a b what a b what a a What a be be be be be What a be be be be be What a be be be be be be be a beauty be be be What a beauty. Kurt Schwitters

30. Lanke trr gll pe pe pe pe pe Ooka ooka ooka ooka Lanke trr gll pii pii pii pii pii züüka züüka züüka züüka III Lanke trr gll Rrmm Rrnnf III Lanke trr gll Ziiuu lenn trll? Lümpff tümpff trll III Lanke trr gll Rrumpff tilff too III Lanke trr gll Ziiuu lenn trll? Lümpff tümpff trll III Lanke trr gll Kurt Schwitters, Ursonate, 3rd part: Scherzo (extract) KS by El Lissitsky 1924

31. Oskar Maria Graf

32. Russian influence before the revolution Vassily Kandinsky

33. Kasimir Malevich, The Black Square

34. Vladimir Tatlin: Model of the Monument to the Third International Soviet Influence

35. 1923 Kasimir Malevich Wedding dish 1924

39. Ornament is a waste of the energy of labour, and therefore a waste of health…Today it also means squandered material and squandered capital…The modern person, the person with modern nerves, does not need ornament, on the contrary, he detests it. - Adolf Loos Ornament and Crime 1908

40. Form follows function The American sculptor Horatio Greenough, popularised by the American architect Louis Henri Sullivan

41. Less is more. - Mies van der Rohe Architects and designers approached design by methods that reduced all unnecessary elements.

42. It is agreed, we refuse to duplicate handmade works, historical style forms, and other materials for production. - Peter Behrens, 1907 Rejection of historical and handmade artefacts – they are to be replaced by new technologies and materials.

44. The Famous Designers • Walter Gropius – Architect and founder of the architectural program • Mies van der Rohe – Architect and furniture designer • Marcel Breuer – Designer of “machine-age furniture”

45. Walter Gropius • 1919 - 1928 director of the Bauhaus • His aim was to bring together all creative efforts into one whole, to reunify all the disciplines of practical art — painting, sculpture, handicrafts and the crafts. There should be no distinction between monumental and decorative art. • He believed that the student must know the crafts — each student had to work in the workshop to familiarise themselves with materials and construction in order to learn how to design properly.

46. Marcel Breuer • Designed tubular steel Wassily chair inspired by bicycle handles • The chair was designed for his artist friend Wassily Kandinsky

47. Mies van der Rohe • Designed the German Pavilion for the 1929 International Exposition in Barcelona, Spain • Used the open plan inspired by Wright • Ornamentation was only through the textures of natural materials • Combines marble floors, polished steel columns, screen walls of glass and polished marble

49. The Weissenhof Estate, Stuttgart 1927