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- Christian Drobe is postdoctoral research fellow on the ERC-funded project ‘Continuity or Rupture? Art and Architectur... moreChristian Drobe is postdoctoral research fellow on the ERC-funded project ‘Continuity or Rupture? Art and Architecture of Central Europe: 1918-1938’ (CRAACE). He earned his PhD in Art History at the Martin Luther University Halle-Wittenberg, with a thesis titled ‘Verdächtige Ambivalenz. Klassizismus in der Moderne 1920-1960’. His research is focused on European Art between the two World Wars, particularly classicist, traditionalist or political conservative forms in continuity/contention to Modernity or New Objectivity.edit
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With his series of pilot portraits during the First World War, the Viennese painter Karl Sterrer made a significant contribution to the depiction of a modern heroic figure. It has not yet been analysed in the context of the modern soldier... more
With his series of pilot portraits during the First World War, the Viennese painter Karl Sterrer made a significant contribution to the depiction of a modern heroic figure. It has not yet been analysed in the context of the modern soldier and his masculinity, which came under strain in the brutal trench warfare. At the mercy of an abstract war machine, the common soldiers could hardly find heroic moments to impress. Only a few new types of troops, such as the aviators, succeeded in doing so, which gave them a great deal of public recognition and made them part of modern visual culture. Ultimately, they were seen as New Man, above the horrors of modern warfare. At the same time, they were also role models for a noble habitus that met the phenomena of modernity calmly. This aspiration was evident in their elegant countenance, their extraordinary physiognomy. Unlike previous attempts in art history, however, this article provides a look at the conservative take on the subject-by a traditional, academic artist. This focus underlines the extent to which old and new soldierly values overlapped in modernity and became actualised by different artists regardless of their political orientation. The same applies to the stylistic realisation, which intertwines traditional elements with those of new movements such as New Objectivity.
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In May 1938, Hitler and Mussolini were given an extensive tour of Rome’s museums and art collections by Bianchi Bandinelli. A famous photograph shows them in front of Antonio Canova’s sculptor of Paolina Borghese. That moment acts as a... more
In May 1938, Hitler and Mussolini were given an extensive tour of Rome’s museums and art collections by Bianchi Bandinelli. A famous photograph shows them in front of Antonio Canova’s sculptor of Paolina Borghese. That moment acts as a starting point for a multitude of observations, which mostly focus on the specific conditions of Canova’s reception in Germany and the continuity of classicism. Modern classicism of the early 20th century occurred in a challenging political arena, and was later corrupted by Nazi Art. In the essay, trendsetting new forms in art from around 1800 will be elaborated, especially those of Antonio Canova. His specific reception in Germany, which neglected his stylistic achievements towards modernity, helped lessen the intrinsic meaning of the new autonomous artforms of that era. Because Canova was criticized heavily, especially in comparison to Bertel Thorvaldsen, the article observes national stereotypes that have little to do with artistic forms but that, nonetheless, are effective until the 20th century. Thematically, two subjects may be explored: the portrayal of the naked woman, and the idealized nudity of the heroic man. Canova should not be considered the forerunner of Nazi sculpture; nevertheless, the opportunities and dangers of classicist modernity start with the great Italian sculptor.
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After the First World War, artists throughout Europe once again embraced tradition. The desire for order and peace fuelled their artistic visions. This modern classicism, which emerged most notably in France and Italy, has so far received... more
After the First World War, artists throughout Europe once again embraced tradition. The desire for order and peace fuelled their artistic visions. This modern classicism, which emerged most notably in France and Italy, has so far received little attention in German art history. This publication attempts to close this gap. At the beginning of the 1920s, important representatives of New Objectivity such as Georg Schrimpf, Alexander Kanoldt or Carlo Mense approached forms of the new classicism, which art critics were intensively discussing at the same time. Traditional art centres such as Munich or Dresden played a major role in this process. The same applies to the Italian experience as a place of longing, which in Germany, like the reception of antiquity as a whole, looks back on a long history. The National Socialists, however, besmirched the ideas of classicism, made references back to tradition suspect and ultimately put an end to this heritage. The struggle for supremacy over the past, nevertheless, looked back on a long tradition. Conservatism had a massive impact on interwar art in Germany and is examined here in its ideas, counter-examples and also in its misconceptions in continuity up to the post-war period.
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During the First World War, the first major system of prison camps of the 20th century was established. In autumn 1918, 2.4 million prisoners of war were in the custody of the German Reich alone. Between 1914 and 1921 there was also a... more
During the First World War, the first major system of prison camps of the 20th century was established. In autumn 1918, 2.4 million prisoners of war were in the custody of the German Reich alone. Between 1914 and 1921 there was also a large camp in Merseburg, where over 40,000 prisoners were interned. This book provides information on the history of the Merseburg prisoner of war camp, life behind the barbed wire and the use of the prisoners as labourers in the region. The main focus is on artistic testimonies of five French prisoners, which are presented here together for the first time. Their works provide a detailed insight into everyday life in the camp. ///// Im Verlauf des Ersten Weltkrieges entstand das erste große Lagersystem des 20. Jahrhunderts. 2,4 Millionen Kriegsgefangene befanden sich im Herbst 1918 allein im Gewahrsam des Deutschen Reiches. Auch in Merseburg existierte zwischen 1914–1921 ein großes Lager, in dem über 40.000 Gefangene interniert waren. Das vorliegende Buch informiert über die Geschichte des Merseburger Kriegsgefangenenlagers, das Leben hinter dem Stacheldraht und den Einsatz der Gefangenen als Arbeitskräfte in der Region. Den Schwerpunkt bilden künstlerische Zeugnisse von fünf französischen Gefangenen, die hier erstmals gemeinsam präsentiert werden. Ihre Werke ermöglichen einen detaillierten Einblick in den Lageralltag.