The Impact Of World War In Visual Arts Essay

POEM

One sample of predicament was the book-length poem of Selden Rodman’s The Airman (1941). It offers lengthy accounts of Icarus, Daedalus, and Leonardo da Vinci before taking up Wright Brothers. The fourth section they dedicate it to Lauro de Bossis, an Italian young poet, who dropped down the pamphlets of Fascist on Rome in 1931. The poem The Brothers was the longest narrative consists of 40 pages. Many Americans are writing about the airplane, this obsessive summarization of honoring the tradition, the names of their ancestors and the recording of rituals of their achievements, serves as biblical purpose, like the generations counting in Chronicles. It was to remember the many historical prose of the published flight in 1930’s. Again the industrial or businesses are failing to yield adequate wings to the poet, however. Thus, Rodman feels detain by the diaries and letters of the Wright Brothers, as well as the evidence he collected while researching for the book. When America entered the war in 1941, the airplanes served as a metaphor for the most powerful force of complex weaponry. At the end of the war Robert Frost among the rest, returned back to the Wright Brothers subject as American way of guidance to space age. His poem way back 1953 titled Kitty Hawk was the most essential literary work to consider the involvement of the Wright Brothers to the second half of twentieth century. In Kitty Hawk, Frost bow down to the first inventors of the flying machine, who fashions a new relationship between heaven and earth, a sense of optimism about leadership of America in the new century. In 1953 Frost finally outran the astronauts, palnting the imaginary flag in advance. (D. Pisono, 2003)

DANCE

In the middle of 1930’s in war, it was not only European that are connected but some Americans volunteers who fought in Spain. They helped raise the awareness of International impending threat of Fascism. The reality of war was brought to European families from the army the death of their brothers and sons. While Europe was still under the Fascist dictatorship and war, dance were growing faster in America. Wigman’s influence, subdued in Germany, but continued through Holm, although certain alteration occurred in movement quality, style, and themes. The conflict in Europe inspired the American dancers of the generation of Bennington for their response in choreographic works. In summer of 1937 at the Bennington Dance Festival, Martha Graham was reacting towards the outbreak of the Civil War in Spain, the festival created Immediate Tragedy Dance of Dedication, s solo performance by the fearless Spanish women. The Bennington School of Dance was transferred on the Mills College in 1939 on the West Coast summer session. This transfer had brought a slight shift from performance to teaching which younger ones became responsible of training with the modern dancers by the Big Four namely Weidmon, Holm, Humprey, and Graham. Roland Cassedy director of the Mills College, Physical Education Department was the facilitator of their moving to Mills. Cassedy was inspired by his visit on Bennington, he attempted to build up a Modern Dance Center in California. He put Tina Flade in charge of the dance department and to West Coast dancers, Flade performed the first exposure to European Modern Dance. Doris Humprey and Charles Weidmon were continuously working in various studio performances, but due to physical and financial stress and no more new directions in their choreographic performance, Humprey started to feel the serious effect of the signs of arthritis that forced her to give up her performing career after her last appearance in dancing the Inquest in 1944. (I. Portsch-Bergsohn, 1994)
Martha Graham and her company at the Bennington School of Dance, 1941 ( Nina fornaroff, Jane Dudley, Sophie Moslow, Elizabeth Halpern, Ethel Butler, Nelie Fisher, and Jean Erdmon)
PAINTING

Works Cited

Pisano, Dominick. The Airplane in American Culture. Ann Arbor: U of Michigan P, 2003. Print.
Partsch-Bergsohn, Isa. Modern Dance in Germany and the United States: Cross Currents and Influences. Chur: Harwood Academic Publishers, 1994. Print
West, Shearer. The Visual Arts in Germany, 1890-1937: Utopia and Despair. New Brunswick: Rutgers UP, 2001. Print.