Art Papers Assignment Help-In what ways does European Modernist Art respond to the impact of Modern Industrialized War?
In what ways does European Modernist Art respond to the impact of Modern Industrialized War? Within the scope of your essay you should analyse in relation to question’s topic roughly four examples of art, which could be by the artists that I have given on the attached reading list. However, to make your essay better, you will also have to find additional reading on each artist. Once you have done some reading and decided on your essay question, please send me your 500 words essay plan.
Reading and Resources list
In what ways does European Modernist Art respond to the impact of Modern Industrialized War?
Reading on War
Mark Antliff and Vivien Greene (eds.), The Vorticists: Manifesto for a Modern World, exhibition catalogue, Tate Publishing, London, 2010.
Mark Antliff and Scott W. Klein (eds.), Vorticism: New Perspectives, Oxford University Press,
Oxford and New York, 2013.
David Boyd Haycock, Paul Nash, exhibition catalogue, Tate, London, 2002.
Grace Brockington, Above The Battlefield: Modernism and The Peace Movement in Britain, Paul Mellon Centre for Studies in British Art, Yale University Press, New Haven and London, 2010
Jane Carmichael, First World War Photographers, Routledge, London, 1999.
Richard Cork, Vorticism and Abstract Art in The First Machine Age, Vol.1, ‘Origins and Development’, Gordon Fraser Gallery, London, 1976.
Richard Cork, Vorticism and Abstract Art in The First Machine Age, Vol. 2 ‘Synthesis and Decline,’ Gordon Fraser Gallery, London, 1976.
- Richard Cork, A Bitter Truth: Avant-garde Art and The Great War, exhibition catalogue, (Berlin 10 June to 28 August 1994 and London 29 September to 11 December 1994), Yale University Press, New Haven and London, 1994.
P, Fox, ‘Confronting Postwar Shame in Weimar Germany: Trauma, Heroism and the War Art of Otto Dix’, The Oxford art journal. Vol. 29; No. 2, 2006, 247-267
- Janet Lyon, Manifestoes: Provocations of the Modern, 92-123
Linda F. McGreen, Bitter witness: Otto Dix and the Great War, New York : Oxford , Lang, c2001
- Sue Malvern, Modern Art, Britain and The Great War: Witnessing, Testimony and Remembrance, Paul Mellon Centre for Studies in British Art, Yale University Press, New Haven and London, 2004 (both papers).
- Marianne W. Martin, Futurist Art and Theory 1909-1915, Oxford University Press,
- Oxford, 1978.
- Christopher, Richard, Wynne Nevinson, Paint and Prejudice, Methuen, London, 1937.
- Michael Paris, The First World War and Popular Cinema : 1914 to the Present, Edinburgh University Press, Edinburgh, 1999
- Kenneth Silver, Esprit De Corps: The Art of The Parisian Avant-Garde and The First World War.
- Nathan Waddle (ed.), Wyndham Lewis and the Cultures of Modernity, 2013, ebook.
Michael J.K. Walsh, C.R.W. Nevinson: This Cult of Violence, Paul Mellon Centre for Studies in British Art, Yale University Press, New Haven and London, 2002.
Michael J.K. Walsh (ed.), A Dilemma of English Modernism, University of Delaware Press, Newark, 2007.
Jay Winter, Sites of Memory, Sites of Mourning: The Great War in European Cultural History, Cambridge University Press, Cambridge, 1995. (paper 1).
Percy Wyndham Lewis, Wyndham Lewis on Art: Collected Writings 1913-1956,
Funk and Wagnalls, New York, 1969.
Percy Wyndham Lewis (ed), Blast 2, Black Sparrow Press, California, 1981.
Percy Wyndham Lewis (ed); foreword by Paul Edwards, Blast 1, Thames and Hudson, London, 2008.
Artist to focus on: C. Richard Nevinson, Paul Nash, Pablo Picasso, Otto Dix and Max Beckmann.
Citing Secondary Sources in Essays
All quotations, references and bibliographies should follow a standard citation system. Examples of the Harvard system are given below. Other samples can be found in the background reading lists for each week. The name of the author, year of publication and page number should be included in brackets in the body of the essay as follows:
Picasso’s painting is more about the way we see things than about what we see (Vargish and Mook, 1999: 83).
Where the author’s name is cited in the text, there is no need for this to appear in the reference which is then usually placed immediately after mention of the author:
According to Vargish and Mook (1999: 83), Picasso’s painting is more about the way we see things than about what we see.
If a quotation is used, the reference can be placed after the quotation:
According to Vargish and Mook, Picasso’s painting is more about the way we see things than about what we see: ‘Picasso’s painting is an explicit statement about the nature of visual experience – of forms, of spaces, of colours and of the relation of these quantities to each other’. (1999: 83).
If the quotation is longer than three lines of text, it should be set out in a separate paragraph and indented. In this case there is no need to use quotation marks.
According to Vargish and Mook, Picasso’s painting is more about the way we see things than about what we see:
Picasso’s painting is an explicit statement about the nature of visual experience – of forms, of spaces, of colours and of the relation of these quantities to each other. Where the classical representation centres on the subject, the cubist statement centres on representation. And as a result of this shift of emphasis away from the content of observed reality and toward the observation of formal relationships, Cubism was liberated to alter the representational space of painting in ways strongly analogous to the alteration of space in Relativity Theory. (1999: 83-84).
The full reference is then given in a Bibliography which should appear at the end of the essay. Below are examples for different types of publication:
Book
Vargish, Thomas and Mook, Delo E. (1999), Inside Modernism. Relativity Theory, Cubism, Narrative (New Haven and London: Yale University Press).
Edited Book
Bradbury, Malcolm and McFarlane, James (eds.) (1991), Modernism: A Guide to European Literature 1890-1930 (Harmondsworth: Penguin).
Chapter by one author in a book edited by another
Clark, TJ (1985), ‘Clement Greenberg’s Theory of Art’, in Francis Frascina (ed.), Pollock and After. The Critical Debate (New York: Harper and Row), 71-86.
Article in Journal
Brown, Donald M. (1995), ‘Placing Proust: Before and After Modernism (Antoine Compagnon, Proust: Between Two Centuries; Margaret E. Gray, Postmodern Proust)’, Poetics Today, 16 (2), 363.
Word Length
Your work must not exceed the stated maximum word-length for any assignment. Markers will penalise work that exceeds the permitted length, guided by the assessment criteria approved by the College of Arts and Law. This length excludes the bibliography and any appendices containing textual or numerical data, interview transcripts, concordances, etc, but includes footnotes.
