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Download Article Advances in Social Science, Education and Humanities Research, volume 368 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019) Pittura Metafisica and the "New Man" in Weimar Art of the Early 1920s Maria Belikova Department of Modern and Contemporary Western Art State Institute for Art Studies (SIAS) Moscow, Russia E–mail: [email protected] Abstract—The presented article deals with ideological and Michael Stark emphasizes that the Dadaists denied almost stylistic interrelations of Weimar art of the early 1920s with religious worship an abstract "new man", and they Italian metaphysical painting. The author examines in details commented on expressionists’ statements "with sarcastic the texts and manifestos of Italian and German artists, irony and cynical controversy" [4], offering the society their revealing the general theoretical views on the art of both sides. own version of the "new man", more mundane, but more The author focuses on the image of the "new man" in German suitable, in their opinion, the realities of the time. art, which originated in the context of expressionism, and received a different expression and meaning in the early 1920s. The article will analyse theoretical texts of Italian artists, With the help of stylistic principles of pittura metafisica, as well as well as articles and manifestos of Berlin Dada in order to as its main character – dummy – German artists have come up compare the worldview of both sides, as well as identify with their own version of the "new man". Berlin Dadaists and similarities and differences in views regarding the purpose the representatives of the new objectivity leave behind the and essence of art. Understanding the theoretical basis will metaphysical meaning, that originally laid down in C. Carra’s allow us to move to the next stage of analysis and to consider and G. de Chirico’s mannequins, and put the "new man" in in details the stylistic and thematic influence of pittura Weimar socio-political realities, thus creating an art of highly metafisica on German art of the 1920s. The article will topicality. attempt to depict the peculiarity of the "new man" in the German painting and graphics of the period under study, as Keywords—German art; Berlin Dada; new objectivity; well as what its image owes to the Italian metaphysical pittura metafisica; "new man" school. I. INTRODUCTION II. THEORETICAL BACKGROUND: FROM TEXT TO TEXT Since the 1920s, mysterious characters – mannequins, robots, automatons – have been steadily appearing in The influence of Italian metaphysical painting in the German art, the presence of which cannot be fully early 1920s on German artists was significant. comprehended if one remains exclusively within the art Reproductions of works by Carlo Carra and Giorgio de context of Weimar Germany. Researchers have already Chirico were published at a regular basis in the magazine noted that the formation of new aesthetics of the interwar "Valori plastici" and were well known in Germany. Berlin period in Germany was influenced by Italian metaphysical Dadaists repeatedly mentioned the names of Italian artists in painting [1], [2], and in this regard, the greatest interest their articles and manifestos. The reason, for which the among German artists was caused by works of two Italian German artists were more receptive to рittura metafisica than masters – Giorgio de Chirico and Carlo Carra. Via using any other modern art movement, should be sought in the impersonal mannequins of Italian pittura metafisica German cultural context of the period in question. On the art scene of artists tried to represent the so-called "new man" – a typical Germany, since the beginning of the XX century, dominated hero of the interwar era, the image of which could vary from the avant-garde movements, led by expressionism. In the a philistine, who had no opinion of his own, to an engineer, interwar period, however, it was side-lined by Dada and then constructing in his drawings a new world of the future. new objectivity, most of whose representatives had behind them at an early stage of work expressionist experience. As a The "new man" of the Dadaists was a direct opposition to rule, these young people either took an active part in the the "new man" of the expressionists, who advocated the military events of the Great War, or somehow saw its spiritual renewal of man and dreamed of a new world, devastating consequences for the individual, society and the building utopian idylls of universal brotherhood and country as a whole. In this regard, the new generation of boundless love of people for each other. Such ideas can be artists can be characterized by a clear anti-militaristic found, for example, in the article of a writer, director and position. Sobering military experience, as well as the artist Lothar Schreier "The New Man", published in the difficult socio-economic and political situation in the country expressionist magazine "Der Sturm" in 1919 [3]. Researcher contributed largely to the fact that expressionism was Copyright © 2019, the Authors. Published by Atlantis Press. This is an open access article under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/). 492 Advances in Social Science, Education and Humanities Research, volume 368 perceived by a number of young artists as inappropriate and mysticism and hyperbolized forms. A significant part of the ridiculous anachronism of the pre-war era. German artists now tended to the reflection of real life, with its many twists and turns, giving impetus to their oeuvre. Here the role of the main offenders of expressionism took Some of them could be ironic and scoff at the realities of the over the Berlin Dadaists, as evidenced by the numerous Weimar Republic, as did the Dadaists, while others sought to attacks on it in articles and manifestos of G. Grosz, R. record the true, "objective" reality through the naturalistic Schlichter, R. Hausmann and J. Heartfield and others. Thus, interpretation of objects, which distinguished the for example, the collective article of the above-mentioned representatives of the "new objectivity" (some of which were authors "The laws of painting" of 1920 (unpublished during former Dadaists). One way or another, the focus of the the life of the authors) states the following: "the materialistic artists' work in the early 1920s was aimed at the current picture is based on plasticity and accuracy and not on the events of public life, and, consequently, the artists were indecision of subjective impressions or spiritual vibrations" searching for new means of artistic expression. It is [5]. And further: "Painting is a collective phenomenon" [6]. important to understand that it is in this ideological and By materialistic painting artists meant the work, which is artistic context that the genuine interest of German artists in based, in fact, on the academic drawing, made with an modern Italian art is born, which attracted by its classic rigor understanding of the form, perspective, light and shadows, and clarity, and most importantly, by the appeal (albeit well- coupled with a competent painting component – knowledge veiled) to modernity. of the vast range of colours. Artists, referring to Leonardo da Vinci himself, called again their colleagues to learn to be In his famous article "Return to the craft", published in attentive observers of the surrounding reality, and not to be 1918 in the journal "Valori plastici" [13], Giorgio de Chirico like the expressionists, whose art, in their opinion, is appears to the reader as a conservative, lamenting that the "arbitrariness and loss of form" [7]. avant-garde negated the value of drawing in painting, as well as all the traditional studies necessary in the past to create a Richard Hülsenbeck, one of the founding fathers of decent work of art. De Chirico feels nostalgic for art Dadaism, wrote that expressionism is "a gesture of tired workshops and guilds, where the quality of a work was people who want to get out of themselves to forget time, war controlled at several levels, excluding unworthy samples, as and suffering" [8]. In his article "Return to objectivity in art" well as those times when the creation of an art piece took at Raul Hausmann calls expressionism "the art of lingering least a few months. De Chirico is convinced that the future of stupidity" [9], "disgusting darkening of things" [10]. all art will be impossible without a return to the craft, "Expressionism, which arose abroad, has become in assuming the presence of the artist's academic skills and Germany according to the good old tradition, in a well-fed knowledge of the entire technological process in detail. He idyll and waiting for a decent pension…" [11], - stated in one also criticizes the commercialization of art and the dealers’ of the Dada manifestos. Moreover, one of the joint articles of work, which is based on the production line approach, which John Heartfield and Georg Grosz, in which the authors, significantly reduces the technical quality of works and among other things, attacked expressionist painter Oskar makes artists adapt to market conditions. The article was Kokoschka, appeared in print under the title of "The Art published 2 years earlier than the above-mentioned collective scab" [12], which expresses their straightforward attitude to article of the Dadaists "The Laws of painting", and therefore expressionism. the ideological influence of Italian artists on the German There is no end to the reproaches, accusations and artistic
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