Early Modern Era Exhibit - The influence of World War I

For this Early Modern era exhibit we are going to be discussing the influence of World War I in each of these pieces. Before the war, during the war, and after the war, artists were influenced heavily by the continuous changes happening in everyday life.  

The Shoe Shop, 1911, oil on canvas

    The first painting, though it was created before the war, depicts a new and intriguing change of scenery. The Shoe Shop by Elizabeth Sparhawk-Jones in 1911 using oil on canvas. It shows an inside view of a shoe department store, with two shop girls helping other women get fitted for shoes. 

    This scene contains no men and is painted to appear as if it were " a moment passing us by" (Madsen, 2018). In relation to World War I, this image provides a change of scenery compared to the known factory line work that was used to mass produce clothing and shoes. During the war, these techniques were utilized in order to maintain and continue producing uniforms for soldiers going off to fight in the war. 

    

    Another major point this painting emphasizes is the new start for women being represented in art. Not only are there, what we assume to be, middle class shoppers, but also working class women represented in this piece. We assume there is a difference in class based on two factors, the first being the shop girls' matching uniforms. The second is the level at which each of the women's heads are at in the image. The women being fitted for shoes are depicted standing over each of the shop girls, their heads positioned higher in the painting. The shop girls heads are lower and facing downward, giving the impression that they are of a lower, working class. 

    

   All of these details, plus the addition of carefully mixed colors and values, come together to curate a beautiful piece of art. It is neat to be able to see a change in the representation of women in art, even before the first world war. Especially considering the movement that occurred following the wars and how post-war society began to change the representation of all people in art. 

Portrait of a German Soldier, 1914, oil on canvas

    The second painting featured in this exhibit was created by Marsden Hartley in 1914. This painting, titled Portrait of a German Soldier, is a commemorative piece to celebrate the life of a soldier who died early on in World War I. The soldier, Karl von Freyburg was a very close friend of Hartley, who worked to honor his memory following the event of his death. 

    

    You may be thinking, "this isn't a portrait of a man?" However, you are incorrect. Hartley was determined to alter the meaning of a portrait through representing who von Freyburg was as a person, rather than his outer appearances. He does this through the incorporation of techniques used by other known artists such as Picasso and German Expressionists. Using Picasso's Cubism method, Hartley combines a variety of real-world objects that relate to von Freyburg's life and experiences in the composition. 

   

    Many of the symbols present represent and point to von Freyburg's military ranks, battalions, and other associations within the military. The most significant symbol is the cross outlined in white, in the upper center portion of the painting. This cross is known as the German Iron Cross, "a medal awarded to soldiers who demonstrated exceptional valor" (Zygmont, 2017). Prior to his death, von Freyburg was rewarded this medal, which was worm on the center of one's chest. This explains the placement of the symbol in the upper middle area of the image, meant to represent the medal as it would be worn. 

   

    Besides the symbols used to convey aspects of von Freyburg's military relations, there are also a series of different flags displayed. These flags represent "rising German nationalism" and utilize German Expressionist techniques through bright hues and designs that attempt to draw out spiritual and emotional responses. (Zygmont, 2017) Some flags were displayed because they were allies to Germany and the German army. Other flags were included as they were considered Germany's enemies, which appear to be near the bottom as if they were being stepped on or overtaken.    

    

    This painting inspires so much awe for me, as it displays the true power friendships can hold. A friend utilizing his artistic abilities to represent his friend in a fundamentally different and unique way that best displays who he was as a person. Showcasing the importance of someone's personality and experiences, rather than relying on the physical looks and appearances. This to me shows a level of respect for von Freyburg by Hartley not using his face for personal gain. Leaving his looks anonymous to the viewer, but displaying what made him, him. 

Aspiration, 1936, oil on canvas

    Finally, the last painting is titled Aspiration, by Aaron Douglas. This painting made in 1936, was a commissioned piece to celebrate Texas's centennial anniversary of independence from Mexico. It depicts African Americans arriving to a new land filled with a sense of hope and celebration. After World War I ended, a movement began known as The Great Migration, where African Americans were seen moving all around the U.S to start fresh. This led to what we know as the Harlem Renaissance and the embracing of a new post-war society. 

    

    The surrounding values of blue waves give the impression that the three people are on a boat that is just arriving after a long journey. Just below these figures, we can see shackled hands, "reaching upward for some kind of salvation" (Burgard, 2019). Details like these give the impression that the people on this boat are slaves being transported via the Middle Passage. An eerie fact about the minor details of waves and the placement of the hands is that when slaves who were being transported over seas became ill they were often thrown overboard in order to protect the other passengers and slaves. Thus the detail of some of those shackled hands sinking beneath the waves brings a bit of a chilling thought process into this composition. 

    

    The artist was determined to showcase experiences and perspectives of African American's in his art. Instead of learning about slavery from those who did the enslaving, we get to see it through someone else's eyes, to be specific, a slave's eyes. In order to represent aspiration and achievement in the painting, Douglas included details in the figures that stand among the podium that represented them being of groups of well known or famous African Americans. Instead of just creating silhouettes, he attempts to put real world associations behind it in order to create a more powerful and emotional connection to it's meaning. 

    One of my favorite details within this painting are the lines radiating outward from the star and the cityscape. During the Harlem Renaissance, African Americans worked to spread their knowledge and creativity in art, music etc. around the world. Douglas utilized this in his art through the radiating lines being meant to resemble sound waves echoing outward, representing the spreading of African American culture. Another neat detail is Burgard's comments regarding how the star in this composition may be viewed. In Texas' stars were often used to display white people's sense of power or unity. However, he brings up a good point that stars when looking through the perspective of an African American may represent the North star. During slavery, slaves would use the stars, especially the North star, to navigate their way to freedom. This entailing that the representation of the star in this image is a major factor in representing the arrival to a land filled with hope and safety. 

References:

A new African American Identity: The harlem renaissance. National Museum of African American History and Culture. (2018, March 14). https://nmaahc.si.edu/explore/stories/new-african-american-identity-harlem-renaissance#:~:text=Between%20the%20end%20of%20World,shaped%20by%20the%20great%20migration. 

Dr. Annelise Madsen, The Art Institute of Chicago and Dr. Beth Harris, "When the department store was new: Elizabeth Sparhawk-Jones, The Shoe Shop," in Smarthistory, January 11, 2018, https://smarthistory.org/elizabeth-sparhawk-jones-shoe-shop/

Dr. Bryan Zygmont, "Marsden Hartley, Portrait of a German Officer," in Smarthistory, February 2, 2017, https://smarthistory.org/hartley-officer/

Douglas, A. (1970, January 1). Aspiration. Obelisk Art History. https://www.arthistoryproject.com/artists/aaron-douglas/aspiration/ 

Sparhawk-Jones, E. (1970, January 1). The Shoe Shop. The Art Institute of Chicago. https://www.artic.edu/artworks/30732/the-shoe-shop 

Timothy Anglin Burgard, Fine Arts Museums of San Francisco and Dr. Beth Harris, "Aaron Douglas, Aspiration," in Smarthistory, March 4, 2019, https://smarthistory.org/aaron-douglas-aspiration/