Art and the First World War Seminar Leader: Aya Soika (with TU-Professor Dr. Andrea Meyer) Course Times: Wednesday, 14:00 – 18:00, from 15th October (Sessions together with TU-Students in TU-Seminar Room and on site (museums and elsewhere): 15.10.2014; 5.11.2014; 12.11.2014; 19.11.2014; 26.11.2014; 3.12.2014; 10.12.2014. Individual tutorials are to be arranged separately) Email: [email protected]

Art and the First World War The inaugural catastrophic event of the twentieth century, causing destruction and loss of life on an unprecedented scale, the First World War (1914-1918) altered almost every aspect of existence in Europe. It also had a dramatic impact on the lives, working practices and forms created by visual artists, who underwent a decisive rupture with their previous experience and commitments. The works created by artists who went through the disaster of the war also decisively influenced the ways in which the war was perceived later, and not only in intellectual or artistic circles. In this course, manifestos and visual and literary works by European artists active during and after the war will be analyzed and placed in a wider cultural and socio-historical context. This will allow us to ask questions about the relationship between art and politics, but also about early twentieth-century society, and the role of nationalism, education, religion and medical science in cultural life and artistic production. The legacy of the war and its effects on the avant-garde from 1919 onwards will be studied by looking at movements such as Dada and Surrealism all the way to today’s reception marked by the hundredth anniversary of its outbreak. Thus the course will include visits to exhibitions organized on the occasion of the centenary. Modules: Artists, Genres, Movements; Historical Studies

Requirements Since this is a joint course together with the History of Art Department from the Technische Universität, the course is taught as a block seminar, consisting of seven 4-hour blocks. In addition, individual tutorials in order to discuss presentation and essay are being offered for the Bard College Berlin students. Weekly readings and writing assignments and an oral presentation are part of the course requirements. You are expected to participate in our discussions and prepare each seminar session as well as any individual tutorials carefully. The use of laptop computers, tablets, smartphones or other electronic devices in the classroom is prohibited.

Attendance Attendance at ALL classes is expected. Punctuality is essential. Please make sure you depart early in order to reach the museums and/or seminar room, and please lock in your coats and bags before the beginning of class. The itinerary can be checked on www.bvg.de, but make sure you are also equipped with a city map. Writing Assignments Your weekly responses are due each Wednesday of our class, no later than 9:30 am and should be of approximately 300-500 words length. They should be posted onto the google document on the google drive and will be accessible to all participants of our class in order to encourage and stimulate our communal discussion. For the Bard College Berlin students the final essay is due on Monday, 14th December 2014, at 23.59, and should be of ca. 10 000 words, including footnotes/references, bibliography and list of illustrations. The essay is conceived as an academic research paper, so it is especially important that you gain a good overview of the existing literature on your chosen topic and familiarize yourself with methods of academic writing (literature-search in libraries and via databases such as jstor.org, use of citations, use of bibliography). A structure or a draft of the long essay may be discussed ca. two weeks in advance to the final submission deadline. Please note that prior consultation with the Bard in Berlin Writing Centre may be recommended in order to reflect upon writing and structure. The TU students follow the requirements outlined in the respective list of modules. Presentation Each student will deliver a presentation. Presentations should last no longer than fifteen minutes. Please make sure that you rehearse beforehand in order to avoid exceeding this timeframe. A 1-2 page document (ca. 750-1000 words) with structured presentation notes (and, where applicable, a power point presentation) should be submitted via email to both course leaders on the day before class by 3:00 pm. This document can complement or serve as hand-out during the presentation. Policy on Late Submission of Papers Essays that are up to 24 hours late will be downgraded one full grade (from B+ to C+, for example). Essays that are more than 24 hours late cannot receive a grade of higher than C (see also policy on late submission in the Bard College Berlin Student Handbook).

Grade Breakdown Listed below is the percentage grade allotted to each essay, and to classroom participation and assignments . Seminar Grade = Attendance/Participation/Preparation of Art Works and Texts & Tasks Seminar Grade: 30% Presentation: 30% Essay: 40%

Schedule The joint class with the TU –Berlin starts on Wednesday 15 October and runs until Wednesday 10 December, with fall break planned for 20 October – 31 October, 2014. Completion week will take place 15 December – 19 December. Scheduled class times are available online under the relevant course heading: http://www.berlin.bard.edu/academics/courses/fall-2014/ 1) 15.10.2014: Seminar Room Introduction of class participants with mini-presentations. Themes of the Course / Allocation of Presentations. The Great War. Current Scholarship and Debates. Readings: Belinda Davis, “Experience, Identity and Memory: The Legacy of World War I” (review article), in: The Journal of Modern History 75, March 2003, 111-131 Alan Kramer, “The First World War and German Memory”, in: Untold War. New Perspectives in First World War Studies, ed. by Heather Jones, Jennifer O’Brien and Christoph Schmidt-Supprian, Leiden/Boston 2008, 385-415 2) 5.11.2014: Museum, Unter den Linden German Historical Museum. Exhibition: Der Erste Weltkrieg. 1914–1918. Reading: Peter Jelavich, “German culture in the Great War”, in: European Culture in the Great War. The arts, entertainment and propaganda, 1914-1918, ed. by Aviel Roshwald and Richard Stites, Cambridge 1999, 32-57 Short Presentations on: Propaganda (e. g. Posters; War Bonds); Patriotism (e. g. Hindenburg Myth); Warfare; The Western Front (e. g. Ypers); The Eastern Front (e. g. Galicia) 3) 12.11.2014: Museum, Bussardsteig, Dahlem Brücke-Museum, Berlin. Exhibition: Weltenbruch. Die Künstler der Brücke im Ersten Weltkrieg. 19141918 Readings: Richard Cork, “’A Murderous Canival’: German Artists in the First World War”, in: War, Violence and the Modern Condition, ed. by Bernd Hüppauf, Berlin/New York 1997, 241-276 Sherwin Simmons, „Split-Identity in Ernst Ludwig Kirchner's Woodcut Cycle ‚Peter Schlemihls wundersame Geschichte‘“, in: Zeitschrift für Kunstgeschichte, 70, 3, 2007, 409-432 Otto Karl Werckmeister, „Erich Heckel in the First World War“, in: The Ideological Crisis of Expressionism. The Literary and Artistic War Colony in Belgium 1914–1918, edited by Rainer Rumold and Otto Karl Werckmeister, Camden House 1990, 219–236

Additional: German book Weltenbruch, Introduction Short Presentations on: Various members of the former artists’ group Brücke (Erich Heckel, Ernst Ludwig Kirchner, Karl Schmidt-Rottluff); German Expressionism and WWI 4) 19.11.2014: Seminar Room The International Avantgarde during the First World War First Round of Presentations on different themes / artists and different texts Reading: Marjorie Perloff, “The Great War and the European avant-garde”, in: The Cambridge Companion to the Literature of the First World War, ed. by Vincent Sherry, Cambridge 2005, 141-165 Annette Becker, The Avant-Garde, Madness and the Great War, in: Journal of Contemporary History, 35, 1, Special Issue: Shell-Shock (Jan. 2000), 71-84 Short Presentations: Futurism and WW I; Surrealism and WW1; Cubism/Léger and WW1; Franz Marc; Ernst Barlach; Max Beckmann; Madness 5) 26.11.2014: Seminar Room Anti-War Imagery. Second Round of Presentations Readings: Dora Apel, “’Heroes’ and ‘Whores’: The Politics of Gender in Weimar Antiwar Imagery”, in: The Art Bulletin, 79, No. 3 (Sept. 1997), 366-384 Paul Fox, „Confronting War Shame in Weimar Germany: Trauma, Heroism and the War Art of Otto Dix“, in: Oxford Art Journal, 29, 2, 2006, 247-67 Short Presentations: Otto Dix; Käthe Kollwitz; Dada and WW1; George Grosz; Willy Jaeckel, Memento 6) 3.12.2014: Seminar Room and Museum, Jebenstrasse Part 1: War and Photography Part 2. Exhibition Visit: Fotografie im Ersten Weltkrieg, Museum für Fotografie Readings: Bernd Hüppauf, “Experiences of Modern Warfare and the Crisis of Representation”, in: New German Critique, 59, 1993, 41-76

Joëlle Beurier, “Information, Censorship or Propaganda? The Illustrated French Press in the First World War”, in: Untold War. New Perspectives in First World War Studies, ed. by Heather Jones, Jennifer O’Brien and Christoph Schmidt-Supprian, Leiden/Boston 2008, 293-324 Short Presentations: Photography and Censorship; personal war photography; illustrated press 7) 10.12.2014: Seminar Room Memory and the War’s Legacy Reading: Stefan Goebel, “Re-Membered and Re-Mobilized: The ‘Sleeping Dead’ in Interwar Germany and Britain”, in: Journal of Contemporary History, 39, 4, Special Issue: Collective Memory, 487-501 Jay Winter, “War Memorials and the mourning process”, in: id., Sites of Memory, sites of mourning. The Great War in European cultural history, Cambridge 1995, 78-116 Short Presentations: Mourning; memory; public commemoration; Tannenberg monument; Neue Wache by Heinrich Tessenow and its reinterpretation, Kollwitz’ Grieving Parents

Essay Deadlines Monday, 15th December, midnight. The network administrator will create a file for course essay submissions ahead of each deadline, and all essays are submitted electronically. Readings: Readings are available to registered students as PDFs from the google drive.

Bibliography Beurier, Joëlle, “Information, Censorship or Propaganda? The Illustrated French Press in the First World War, in: Untold War. New Perspectives in First World War Studies, ed. by Heather Jones, Jennifer O’Brien and Christoph Schmidt-Supprian, Leiden/Boston 2008, 293-324 Buenger, Barbara C., “Max Beckmann in the First World War”, in: The Ideological Crisis of Expressionism. The Literary and Artistic War Colony in Belgium 1914–1918, edited by Rainer Rumold and Otto Karl Werckmeister, Camden House 1990, 237-279 Cork, Richard, “’A Murderous Canival’: German Artists in the First World War”, in: War, Violence and the Modern Condition, ed. by Bernd Hüppauf, Berlin/New York 1997, 241-276 Cork, Richard, A Bitter Truth. Avant-Garde Art and the Great War, New Haven und London 1994 Deshmukh, Marion F.,” German Impressionist Painters and World War I”, in: Art History, 4, 1981, 66-79

Eberle, Matthias, World War I and the Weimar Artists. Dix, Grosz, Beckmann, Schlemmer, New Haven and London 1985 European Culture in the Great War. The arts, entertainment and propaganda, 1914-1918, ed. by Aviel Roshwald and Richard Stites, Cambridge 1999 German Expressionism. Documents from the End of the Wilhelmine Empire to the Rise of National Socialism, edited by Rose-Carol Washton Long, New York 1993 Jelavich, Peter, “German culture in the Great War”, in: European Culture in the Great War. The arts, entertainment and propaganda, 1914-1918, ed. By Aviel Roshwald and Richard Stites, Cambridge 1999, 32-57 Kahn, Elizabeth Louise, “Art from the front, death imagined and the neglected majority”, in: Art History, 8, 1985, No. 2, 192-208 Kramer, Alan, “The First World War and German Memory”, in: Untold War. New Perspectives in First World War Studies, ed. by Heather Jones, Jennifer O’Brien and Christoph Schmidt-Supprian, Leiden/Boston 2008, 385-415 Paret, Peter, “Field Marshal and Beggar – Ernst Barlach in the First World War”, in: id., German Encounters with Modernism, 1840-1945, Cambridge 2001, 144-184 Paret, Peter, “The Great Dying – Notes on German Art”, 1914-1918, in: id., German Encounters with Modernism, 1840-1945, Cambridge 2001, 133-143 Perloff, Marjorie, “The Great War and the European avant-garde”, in: The Cambridge Companion to the Literature of the First World War, ed. by Vincent Sherry, Cambridge 2005, 141-165 Saunders, Nicholas J.: Trench art. Materialities and memories of war, Oxford 2003 Sherwin Simmons, „Split-Identity in Ernst Ludwig Kirchner's Woodcut Cycle ‚Peter Schlemihls wundersame Geschichte‘“, in: Zeitschrift für Kunstgeschichte, 70, 3, 2007, 409-432 Siebrecht, Claudia, “The Mater Dolorosa on the Battlefield. Mourning Mothers in German Women’s Art of the First World War, in: Untold War. New Perspectives in First World War Studies, ed. by Heather Jones, Jennifer O’Brien and Christoph Schmidt-Supprian, Leiden/Boston 2008, 259-291 Siebrecht, Claudia, The aesthetics of loss. German women’s art of the First World War, Oxford 2012 Silver, Kenneth E., Esprit de corps. The art of the Parisian Avant-garde and the First World War, 1914– 1925, Princeton 1989 Werckmeister, Otto Karl, „Erich Heckel in the First World War“, in: The Ideological Crisis of Expressionism. The Literary and Artistic War Colony in Belgium 1914–1918, edited by Rainer Rumold and Otto Karl Werckmeister, Camden House 1990, 219–236

Winskell, Kate, „The Art of Propaganda. Herwarth Walden und ‚Der Sturm‘, 1914-1919“, in: Art History, 18,1995, 315-344 Winter, Jay, Sites of Memory, Sites of Mourning: The Great War in European Cultural History, Cambridge 1995 Jstor Articles (selection): Apel, Dora, “Heroes” and “Whores”: The Politics of Gender in Weimar Antiwar Imagery, in: The Art Bulletin, 79, No. 3 (Sept. 1997), 366-384 Apel, Dora, “Cultural Battlegrounds: Weimar photographic narratives of war”, in: New German Critique, no. 76, special issue on Weimar visual culture (Winter 1999), pp. 49-84 Becker, Annette, “The Avant-Garde, Madness and the Great War”, in: Journal of Contemporary History, 35, 1, Special Issue: Shell-Shock (Jan. 2000), 71-84 Crockett, Dennis, “The most famous painting of the “golden Twenties”? Otto Dix and the Trench Affair”, in: Art Journal, 51, 1, 1992, 72-80 Davis, Belinda, “Experience, Identity and Memory: The Legacy of World War I” (review article), in: The Journal of Modern History 75, March 2003, 111-131 Fox, Paul, “Confronting postwar shame in Weimar Germany: Trauma, Heroism and the War Art of Otto Dix”, in: Oxford Art Journal, 29, 2, 2006, 247-67 Goebel, Stefan, “Re-Membered and Re-Mobilized: The ‘Sleeping Dead’ in Interwar Germany and Britain”, in: Journal of Contemporary History, 39, 4, Special Issue: Collective Memory, 487-501 Hüppauf, Bernd, “Experiences of Modern Warfare and the Crisis of Representation”, in: New German Critique, 59, 1993, 41-76 Hüppauf, Bernd, “The Emergence of Modern War Imagery in Early Photography”, in: History and Memory, 5, No 1, 1993, 130-151 Hüppauf, Bernd, “Emptying the Gaze: Framing Violence through the Viewfinder”, in: New German Critique, no. 72, Autumn 1997, pp. 3-44 Knust, Herbert, “George Grosz: Literature and Caricature”, in: Comparative Literature Studies, Vol. 12, No. 3, in: Media and Society: Montage, Satire and Cultism between the Wars (Sep., 1975), pp. 218-247 Moorjani, Angela, “Käthe Kollwitz on Sacrifice, Mourning and Reparation: An Essay in Psychoaesthetics”, MLN, 101, 5, in: Comparative Literature, Dec 1986, 1110-1134 Saunders, Nicholas, “Crucifix, Calvary and Cross: Materiality and Spirituality in Great War Landscapes”, World Archeology, 35, No 1, in: The Social Commemoration of Warfare, 2003, 7-21

Simmons, Sherwin, “Men of Nails, Monuments, Expressionism, Fetishes, Dadaism”, in: Anthropology and Aesthetics, 40 (Autumn 2001), 211-238 Simmons, Sherwin, „Split-Identity in Ernst Ludwig Kirchner's Woodcut Cycle ‚Peter Schlemihls wundersame Geschichte‘“, in: Zeitschrift für Kunstgeschichte, 70, 3, 2007, 409-432 Watson, Alex, “Self-Deception and Survival: Mental Coping Strategies on the Western Front, 1914-18”, in: Journal of Contemporary History, Vol. 41, No. 2 (Apr., 2006), 247-268

List of Images (Selection, TBC):                                

Ernst Barlach, The Avenger, 1914 Raoul Hausmann, Spirit of Our Time – Mechanical Head, ca. 1921, Assemblage Hannah Höch, Cut with the Kitchen Knife, 1919 Käthe Kollwitz, Selected lithographs such as Never again War, 1924 Käthe Kollwitz, Memorial Sheet for Karl Liebknecht, woodcut, 1919 Käthe Kollwitz, The Grieving Parents / Memorial for her son Peter, 1932 Ernst Ludwig Kirchner, Self-Portait as Soldier, 1914 Ernst Ludwig Kirchner, Artillerymen in the Shower, 1914 Oskar Kokoschka, Self-Portrait (Knight Errant), 1914-15 Erich Heckel, Ostend Madonna, 1915 Erich Heckel, Mad Soldier, 1915 Frank Hurley, Over the Top, Photograph, 1917 (exhibited in London in 1918, 6,5 x 4,5 m print photography) George Grosz, Pillars of Society, 1926, Neue Nationalgalerie, Berlin George Grosz, Postwar Idyll, 1919 (Nachkriegsidyll) George Grosz, Ecce Homo, 1922 (portfolio of 84 lithographs and 16 watercolours), Malik, Berlin 1923 George Grosz, Gott mit uns, 1919 (portfolio of 9 Prints, Malik-Verlag, Berlin 1920 George Grosz, Maul halten und weiter dienen (Shut up and do your duty) George Grosz and John Heartfield, The Middle-Class Philistine Heartfield Gone Wild, 1920 Jacob Epstein, Rock Drill, 1913-15 Stanley Spencer, Sandham Memorial Chapel, 1923-1932 Christopher R. W. Nevinson, Paths of Glory, 1917 John Nash, Fallen Tree, 1915-16 Ludwig Meidner, Apokalytische Landschaft, 1912 Henri Gaudier-Brzeska, Battle of Fish, 1914, Kettle’s Yard Gallery, Cambridge Otto Dix, War, Series of Lithographs, 1923 Otto Dix, War Triptych: Der Krieg, 1929-1932, Tempera on Wood, three panels, Dresden Otto Dix, The Matchseller, 1920, Oil and Collage on Canvas, Staatsgalerie Stuttgart John Heartfield, Fathers and Sons, 1924, Montage Gino Severini, The Hospital Train, 1915, Oil on Canvas Umberto Boccioni, Charge of the Lancers, 1915 Max Beckmann, Christus und die Sünderin, 1917 Peter Behrens, Dem deutschen Volk, 1915 / Role of Reichstag (Homefront)

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Heinrich Tessenow, Neue Wache, 1931 Tannenberg Memorial („Tannenberg-Nationaldenkmal“), 1924-1927, Hohenstein, East-Prussia

List of Presentations: Ernst Barlach Käthe Kollwitz Otto Dix Ernst Ludwig Kirchner Max Beckmann Franz Marc Futurism and WW1 Dada and WW1 Surrealism and WW1 Erich Maria Remarque Propaganda Patriotism Warfare Madness Antiwar Images The Home Front The Western Front The Eastern Front Mourning Memory Centenary Exhibitions / Public Commemoration