Peinture guerre 14 18 otto dix biography
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Otto Dix:
Painting to Exorcize War
“I didn’t paint war scenes in order to prevent war; never would I have had that pretension,” Otto Dix told Otto Wundshammer in “I painted them in order to conjure war away. All art is conjuration.”
In evaluating his own work more than twenty years after the Great War of , Dix subscribed to what Pablo Picasso had foretold about art in the early years of the twentieth century: its impotence in changing the courses of things as well as its power of conjuration for artists engaged in the task of taking stock of the world as it is.
In the case in point, not having been able to account for the events as they were unfolding, his contemporaries, in refusing to reexamine them after , opened another front for him and led him to handle another form of violence. Dix speaks there of the chaos that remains silent in the wake of Matthias Grünewald’s Isenheim Altarpiece, the Rhenish masters, and Francisco Goya’s The Disasters of War. All of those artists had the power to imagine the worst, and this was all the more the case for Dix, who had seen it with his own eyes in the trenches.
Laurence Bertrand Dorléac
Frédérique Goerig-Hergott
The artistic development of Otto Dix () was marked by his attachment to traditional painting, esp
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La peinture et la Grande Guerre
Corps 1
The collections of the Historial de la Grande Guerre The Great War was a human tragedy. Millions from every continent died. Millions of others were mutilated and went home with wounded hearts and minds, if they managed to survive at all. It was a geo-strategic earthquake that caused Europe to implode and redrew borders. People thought the First World War would be the last yet it was one of the causes of the Second. How could art have stayed out of so much violence and upheaval? And yet, there was a sort of "absence".
Corps 2
In artists, like all their fellow citizens, were called up, sent to the front and faced with the horrors of total, modern and mechanical warfare. The conflict spawned many works, but few reflect the new weapons' destructive power, the ferocity of the fighting or the cruelty of hand-to-hand combat. True, illustrators posted at the front had little time to sketch their impressions in a pad. They were in the mud, under fire, in a climate of death and fear from which they wanted to escape. In addition, censors kept an eye on soldier-artists' drawings and the military authorities supervised their exhibitions. Above all, newspaper photography became the main medium to illustrate the carnage and the violenc