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CREDIT LINES AND TERMS OF USAGE
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june 29, 2018 - Tate Gallery
Aftermath: Art in the Wake of World War One
Marking 100 years since the end of the First World War, this exhibition explores the immediate impact of the conflict on British, German and French art. As the first exhibition to examine the culture of memorials alongside new developments in post-war art it will consider how artists responded to the physical and psychological scars left on Europe. Aftermath brings together over 150 works from 1916 to 1932 by artists including George Grosz, Fernand Léger and C.R.W. Nevinson. During this tumultuous period, artists began to explore new imagery and new ways of making art in their responses to the experience of war, the culture of remembrance, and the rebuilding of cities and societies. To mark the centenary of the First World War, free tickets will be available for all veterans and members of the armed forces for the duration of the exhibition.
The First World War began to be constructed as memory almost as soon as it had begun. During the war artists created works which reflected on its long-term impact. Battlefield landscapes and images of soldiers’s graves such as William Orpen’s A Grave in a Trench 1917 and Paul Jouve’s Tombe d’un soldat serbe a Kenali 1917 evoked silence and absence in the aftermath of battle.
After the armistice official public memorials provided a focus for mourning and remembrance. Artists including Käthe Kollwitz, André Mare and Charles Sargeant Jagger produced sculptural memorials to commemorate those who lost their lives in the conflict. The exhibition explores the different forms that memorials took, and their importance for social and political cohesion. It also shows the more personal memorials created using relics of the battlefield such as shrapnel and mortar shells.
Soldiers’ wounds were an alternative memorial, visible in flesh rather than stone, and disabled veterans were a constant reminder of the terrible cost of war. Works such as George Grosz’s Grey Day 1921 and Otto Dix’s Prostitute and Disabled War Veteran 1923 used imagery of disabled veterans to demonstrate the inequalities in German society. In France, veterans were an important part of the visual culture of memorial ceremonies. In Britain, images of wounded soldiers such as Henry Tonks’s medical pastel portraits were usually seen in the context of therapy and healing.
This turbulent period also saw the birth of dada and surrealism in the work of Hannah Höch, Max Ernst, André Masson and Edward Burra among others. Artists used new visual forms to process experiences and memories of conflict. Dada photomontages by Hannah Höch reused war imagery while fragmented bodies and prosthetic limbs featured in works like Grosz and Heartfield’s The Petit-Bourgeois Philistine Heartfield Gone Wild. Electro-Mechanical Tatlin Sculpture 1920. As well as the physical and psychological scars left on Europe, the exhibition also shows how post-war society began to rebuild itself, inspiring artists such as Georges Braque, Christian Schad and Winifred Knights to return to classicism and tradition while others such as Fernand Léger, Paul Citroen and C.R.W. Nevinson turned their minds to visions of a technological future in the modern city.
Aftermath: Art in the Wake of World War One is curated by Dr Emma Chambers, Curator, Modern British Art and Dr Rachel Rose Smith, Assistant Curator, Modern British Art. The exhibition is accompanied by a catalogue from #tate Publishing and a programme of talks and events in the gallery.
Aftermath: Art in the Wake of World War One
5 June – 23 September 2018
Tate Britain, Linbury Galleries
Supported by #tate Patrons
www.tate.org.uk
Christian Schad - Self-Portrait 1927
2076x2575, 6MB
William Orpen - To the Unknown British Soldier in France 1921-8
3399x4108, 3MB
Paul Nash - Wire 1918-19
4431x3414, 4MB
Georges Rouault - Arise, you dead! (War, plate 54)
3672x4760, 9MB
Otto Dix - Prostitute and Disabled War Veteran. Two Victims of Capitalism 1923
2866x3591, 1MB
Edward Burra, The Snack Bar 1930 (c) The Estate of Edward Burra, courtesy Lefevre Fine Art, London
5364x7392, 3MB
C.R.W Nevinson - Paths of Glory 1917
3296x2480, 3MB
Jacob Epstein - Torso in Metal from 'The Rock Drill' 1913-14
4232x5118, 1MB
Curt Querner - Demonstration 1930
4353x5699, 4MB
Hannah Hoch - Dada Rundschau 1919
6804x8596, 6MB
Otto Dix - War, Skull 1924
2152x3009, 3MB
George Grosz - Grey Day 1921
5660x8250, 6MB
George Grosz -The Petit-Bourgeois Philistine Heartfield Gone Wild. Electro-Mechanical Tatlin Sculpture 1920
3747x5256, 1MB
Christopher Richard Wynne Nevinson - Ypres After the First Bombardment 1916
3780x2814, 2MB
George Grosz - “Daum” Marries her Pedantic Automaton “George” 1920
6162x8449, 6MB
William Roberts - The Dance Club (The Jazz Party) 1923
7187x5159, 5MB
Aftermath Press 04
2000x3000, 4MB
Aftermath Press 33
3000x2000, 4MB
Aftermath Press 12
3000x2000, 4MB
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