Heath Robinson’s Shakespeare Illustrations @ the Heath Robinson Museum

“Playing on pipes of corn, and versing love to amorous Phillida”. Published in A Midsummer Night’s Dream, London, Constable & Co (1914) The William Heath Robinson Trust

The Heath Robinson Museum in Pinner north-west London is my favourite small gallery in London. It’s only half an hour by tube from Oxford Circus (change at Baker Street onto the Metropolitan line for Pinner). It is a small but beautifully formed exhibition space and always  source of delight and enjoyment.

The museum hosts a steady series of fascinating little exhibitions in its one-room gallery which is big enough to hang 50, 60, 70 prints, illustrations and paintings. Sometimes they’re portmanteau exhibitions featuring a number of artists, for example, the fabulous one about neo-Romantic book illustrators, or the one about the Beardsley Generation.

This one is simpler and more focused; it features just one artist, Heath Robinson himself, with a selection of about 70 of his illustrations for luxury editions of Shakespeare’s plays.

Exhibition contents

The exhibition consists of:

1. 30 large prints of individual drawings or watercolours, hung on the walls.

2. About 7 framed collections which each contain up to a dozen smaller, black and white illustrations, each taken from pairs of plays, for example Macbeth and Julius Caesar (see below).

3. The four display cases each contain original copies of the luxury editions of the Shakespeare plays which Heath Robinson (HR) illustrated, alongside examples of similar volumes by contemporaries, being:

  • case 1: three original copies of the 1908 HR edition of Twelfth Night
  • case 2:
    • a 1914 edition of HR’s Midsummer Night’s Dream
    • 1908 edition of Midsummer Night’s Dream illustrated by Arthur Rackham
    • 1898 edition of Midsummer Night’s Dream illustrated by Robert Anning Bell
  • case 3: three old editions of The Tempest open to lovely illustrations
    • 1901 version illustrated by Robert Anning Bell
    • 1908 version illustrated by Edmund Dulac
    • 1908 version illustrated by Paul Woodroffe
  • case 4: four photocopies of comical illustrations HR made of Jacques’ Seven Ages of Man speech (from As You Like It) for the Bystander magazine in 1905

4. Finally, a slideshow of illustrations for Midsummer Night’s Dream for which the original artwork wasn’t available, projected onto the white gallery wall. There are 37 of these blown-up line drawings and it is quite mesmeric watching the sequence appear on the white wall. It has the effect of really bringing out the compositional clarity of HR’s black and white designs.

As to the 30 or so framed images hung round the walls of the gallery, they are divided into three groups, being selections of the illustrations HR made for:

  1. Twelfth Night
  2. A Midsummer Night’s Dream
  3. The Cape Shakespeare

1. Twelfth Night (1908)

In 1908 Hodder and Stoughton published Twelfth Night with forty coloured plates by Heath Robinson. It was the first time he had had the opportunity to illustrate a complete volume in colour. He didn’t attempt to provide a literal record of the action but, like a composer writing incidental music for a play, set out to capture the mood.

There are six framed originals. The first one is a wonderfully detailed, naturalistic study of a tall woman swathed in a full dress done in pencil (“Sir, my name is Mary”); the other five are richly coloured, deeply evocative, hugely impressive watercolours.

Duke Orsino: “So full of shapes is fancy.” Published in Twelfth Night by Hodder and Stoughton (1908). The William Heath Robinson Trust

Two things are obviously important about these. One is the architecture. There’s a person and what appears to be a squadron of ghostly cherubs in the picture but the real star is the buildings. The flagstones, the column he’s standing by and then the beautifully detailed colonnade across the square or atrium. It is thrillingly precise and accurate.

Second thing is the gloominess of the image, a night-time vibe which is emphasised when you see the daylight shining on the wall opposite and the top, and realise it is actually daytime. This has all been carefully crafted to capture the melancholy mood of the play’s male protagonist, Duke Orsino, who has plunged himself into a theatrically melancholy love for the aloof Countess Olivia:

If music be the food of love, play on;
Give me excess of it, that, surfeiting,
The appetite may sicken, and so die.

In the scene as written the duke is, of course, surrounded by courtiers, but this is what Heath Robinson meant by capturing the mood or feel of the play, because in his mind Orsino is a lovesick loner and this beautiful illustration very powerfully conveys that.

These are the darkest of all the works, in fact one of them, “Present mirth hath present laughter”, is so dark it’s difficult to make out what’s going on. In these illustrations Heath Robinson took a very painterly approach to composition, blurring his usually crisp clear lines to create an almost impressionistic effect. His genius for the comic is almost completely absent. Some of the paintings are reminiscent of the Turner at his most misty sunset moments.

You can see what I mean by going to this blog about HR’s Twelfth Night images:

A Midsummer Night’s Dream (1914)

In 1913 Heath Robinson, at the height of his career, suggested to his publisher, Constable, that he illustrate a luxury edition of A Midsummer Night’s Dream. The end result was a combination of 12 coloured plates and 40 pen and ink illustrations. The pictures fall, like the play, into two groups, the serious business of the aristocrats, among the temples and columned buildings of Athens, and the fantastical goings on among the fairies and ‘rude mechanicals’ in the woods.

Compared to the sombre impressionistic Twelfth Night pictures, the Midsummer Night’s Dream ones could almost be by a different artist. They are all much more clear and crisp, combining a taste for clean outlines with the fantastical element of the many goblins, sprites, elves and pixies and the down-to-earth comedy of the working class characters.

I opened this review with an image which combines the tremendous architectural precision of the temple depicted at the top with a characteristic stream of rather grotesque goblins and whatnot flowing top left to bottom right. The young man tootling his pipes at bottom right evokes the Edwardian fascination with the Greek god Pan, but what I really love about this image is the way he’s resting on a fallen column. At the top is the official world of a complete functioning temple but as your eye follow the trail of flying goblins you descend into a jungle which has overgrown the world of reason and commerce and law till you arrive at a definitive image of the collapse of law and order and reason, the fallen column, leaning on which is the god of mischief and pranks making merry music. It’s an incredibly symbolic, charged image.

Alongside the fantastical ones, are pictures which show the rude mechanicals, the comic working class characters Quince, Snug, Bottom, Flute and Starveling. Here they all are in an ensemble illustration:

Bottom: “I will move storms, I will condole in some measure.” Published in A Midsummer Night’s Dream, Constable and company (1914). The William Heath Robinson Trust

The most obvious thing is the space, the completely white top and bottom of the composition, relieved only by the single pot of drink. Amazing how the simple use of space creates drama and energy, makes the humdrum scene of half a dozen village idiots sitting on a bench seem supercharged with life.

This blog seems to have a good selection if not all of the Midsummer illustrations. You can see the clarity of the lines and the importance of architecture, straight columns, and angular steps in picture after picture:

Some of the colour illustrations, done in watercolour, retain the misty impressionism of the Twelfth Night set. I was particularly struck by a picture of a woman standing in the woods and at the top, instead of Heath Robinson’s detailed way with leaves (especially his favourite horse chestnut leaves) the painting dissolves into washes of green sprinkled with magic fairy lights which is impressionist in feel, almost like one of Monet’s lily pond studies.

Helena: “I’ll follow thee and make a heaven of hell, To die upon the and I love so well.” Pen and watercolour. Published in A Midsummer Night’s Dream by Constable and company (1914)

The Cape Shakespeare

The First World War effectively put an end to the market for sumptuous illustrated gift books. But in 1921 Heath Robinson received a commission from the newly established publishing house of Jonathan Cape to provide over 400 drawings to illustrate a new edition of the complete works of Shakespeare. He completed all 400 by June 1922 but, either though lack of fund for this particular project, or the general decline in the market for luxury books, the edition was never published. Amazingly, it was only in 1991 when Cape moved offices that this treasure trove of illustrations came to light and they are included in the exhibition courtesy of Penguin Random House, their present owner.

The colour illustrations

They’re fascinating for several reasons, first the large watercolour illustrations. The figures are bigger and more central than in the Midsummer Night’s Dream illustrations. They are more front and centre and dramatic.

Lear: “Blow, winds, and crack your cheeks! rage! blow!” (King Lear).

Next, the colouring is much clearer and cleaner than in either the Twelfth Night or Midsummer illustrations. Maybe it was the war, maybe it was a natural development, but Heath Robinson has consciously left behind the Turneresque, impressionist vagueness I mentioned about the earlier paintings. Here the backgrounds are plainer and the figures more sharply delineated.

And the faces, they’re much more gargoyly. They have bog bulging eyes under heavy brows. Both Lear and the fool’s eyes look unnaturally enlarged, almost bulging. Compare and contrast with the discreet, almost invisible eyes in all the earlier illustrations. The conscious change in the treatment of eyes is symptomatic of the far wider range of dramatic moods to be found in the Cape illustrations and the need (and ability) to convey this with more than physical posture, but with a lot more detailed facial description.

The black and white illustrations

Because they were never separated to make printing blocks the freestanding black and white illustrations, often relatively small, have been brought together into ‘sheets’ i.e. 7, 8 or 9 of them presented in the same frame. These combine images from different but linked plays, for example, Henry IV part two and the Merry Wives of Windsor, or Julius Caesar and Macbeth.

It was the latter sheet which really grabbed me. Quite obviously the previous two projects had concerned comedies. Here Heath Robinson was called on to illustrate tragedy, violence, horror, fear. He does it in part by really simplifying down his designs. The hundreds of leaves and flowers and cascades of goblins from the Midsummer Night’s Dream period are all eliminated. Instead Heath Robinson develops a new approach which is to eliminate all unnecessary detail, reduce the number of lines, simplify the figures, and use large pools of solid black to give bite and drama.

A sheet of illustrations for Julius Caesar and Macbeth by William Heath Robinson

These images just don’t have the same impact on a small screen as they did to me in the gallery (the top reason for going to any art gallery is that the impact of a work of art is always massively bigger in the flesh). I know some of the images, like the bloke with the shield, may be a little on the cartoon side. But the more I looked at the image of the assassination of Julius Caesar, the more uncanny it felt.

Illustration for Julius Caesar by William Heath Robinson

Heath Robinson using the big white space we saw used to comic effect in the Dream and applied it to an intensely dramatic moment. There is nothing comic or frivolous about the murder of Julius Caesar and so all the figures involved are depicted in the simplest manner with as few lines as possible. But what a stroke of genius to not do it close-up, to not show the agony and the spurting blood. But to depict it far in the background as possible. Somehow it makes it all the more ominous and horrible and distant and detached and gruesome.

And then – who is the bearded man at the bottom right? Is it the soothsayer who said ‘Beware the ides of March’? Why is he so very distant from the action, barely in the picture, is he hastily exiting the terrible scene? But look at his shadow? It’s like a Rorschach blot, it’s like an abstract swirl, it adds to the sense of disorientation.

The more I looked at this, the more spooked I grew. And the more it seemed to capture the terrible world-historical consequences of the deed, namely another thirteen years of civil war which eventually led to the overthrow of the Roman Republic. The weird kissing black aliens in the bottom… I felt more and more spooked.

Something similar with some of the Macbeth illustrations on the same sheet, especially the raddled old figure at the bottom right, almost entirely in ink-black silhouette and shadow. Or the long thin silhouette of the the weird sisters at top right. The more I looked, the more uncanny and powerful they all became.

Obviously they’re to some extent meant to be shadows of the characters but these flowing pools of jet black are done in a style which approaches a Japanese woodcut level of abstraction. The tendency is strikingly evident in a standalone illustration of the dead Cleopatra. For a moment Heath Robinson has travelled back in time 20 years and become Aubrey Beardsley. The simple lines and languid posture are 1890s, but it’s really the liquid shape of the jet black shadows which reveals the influence. Looking at the shadow of her arm and the folds in the bed (?), I wondered whether their serpentine shape was meant to hint at the slinking asps which, according to legend, she killed herself with.

Cleopatra by Heath Robinson

As I mentioned, some of these b&w illustrations are very funny. There are quite a few comic illustrations of Falstaff and the other characters from Henry IV and the Merry Wives. But it was the uncanny images from Caesar and Macbeth which I kept coming back to. In only 15 years his style had travelled a long, way from the brilliantly naturalistic drawing which started the exhibition, “Sir, my name is Mary.” Although he remained, at the exact same time as doing this commission, a brilliant comic illustrator, some of these Shakespeare images seemed to me to break through to a completely new understanding of the stark, brutal forces at large in the world, unlike anything else in his oeuvre.

Illustrations for Henry VI and Richard III by William Heath Robinson, commissioned by Jonathan Cape in 1921. Unpublished. On long-term loan from Penguin Random House archive.


Related links

More Heath Robinson Museum reviews

Bismarck: The Iron Chancellor by Volker Ullrich (2008)

Bismarck, a potted biography

Born in 1815, Otto von Bismarck completed university and began the tedious, exam-passing career path of becoming a Prussian civil servant, but rejected it as boring and went back to manage his father’s lands in Pomerania. He gained a reputation as a fast-living, hard-drinking, traditional Prussian Junker (‘minor aristocrat’), who loved hunting, drinking and sounding off about how the world was going to the dogs.

Local politics 

Because of his status as local landowner, during the later 1830s and early 1840s Bismarck became involved in local administration, local courts and land disputes, then in local parliamentary business, coming to the attention of local conservative politicians, one of whose brothers was a personal adviser to the king of Prussia. Useful connections. Steps up the ladder.

The Vereinigter Landtag 

In 1847 Bismarck stood in for a member of the Pomeranian provincial parliament, who was ill, and made his first speech on 17 May. He went on to make a mark as an arch conservative, an uncompromising ally of the Crown, and a vehement critic of all liberal ideas.

The 1848 revolution 

Barely had Bismarck come to the attention of the political classes than the Berlin insurrection broke out in March 1848 which threatened to overthrow Friedrich Wilhelm IV. The king’s advisors wanted him to flee the city and then let the army pound it into submission. The king wisely decided to stay and submitted to ‘shameful’ ordeals such as removing his hat when the victims of the street fighting of March were paraded before the palace. To his courtiers’ astonishment, he then went riding out among his citizenry to talk to them and apologise for the bloodshed. His personal bravery and appearance of compassion won him many converts.

Still stuck on his country estates, at one point Bismarck had considered raising an armed force from the farmers on his lands in Pomerania, to march on Berlin and overthrow the liberal parliament and to ‘liberate’ the king, but was talked out of it. Later in 1848, as the counter-revolution gained momentum, Bismarck set up a counter-revolutionary newspaper, the Neue Preussische Zeitung and also helped to set up a ‘Junker’ parliament of landowners in East Prussia, worried about the radical threat to property.

The counter revolution 

The liberal revolutionaries had set up a hopefully titled ‘National Parliament’ which, as the king’s forces re-established control, was forced to move from Berlin to Frankfurt and continued sitting and passing decrees, even as power returned to the kings and conservatives. In October 1848 Austrian troops retook Vienna from its rebellious citizens. By November 1848 the counter-revolution was victorious in Berlin, also. The Berlin National Assembly was first moved to Brandenburg and then dissolved. The king granted a new constitution which made a few concessions to liberal views, but kept himself and his army as the ultimate source of power.

MP to the new parliament 

In 1849 Bismarck was elected to the new Landtag as a prominent advocate of the ultraconservatives. He was then elected onto the ‘Union Parliament’ which sat in Erfurt and was supposed to advise on the constitution of what many hoped would become a federal Germany. Bismarck’s position was always simple and clear: Prussia first. Prussia, its king and power and traditions, must not be subsumed and diluted by absorption into a Greater Germany.

The renewed German Confederation 

In 1850, after stormy diplomatic exchanges which almost led to war, Prussia acceded to the Austrian demand to set up a new version of the pre-1848 German Bund or Confederation, to be based in Frankfurt. In 1851 Bismarck was appointed Prussian envoy to the Bundestag in Frankfurt – at just 35, a notable achievement over the heads of many older, more qualified candidates.

Prevents customs union with Austria 

The 1850s saw a sequence of events in which Bismarck emerged as a canny and astute exponent of power politics. The perennial dispute between Austria and Prussia crystallised into Austria’s wish to join a customs union of the north German states. Bismarck helped to exclude Austria, fobbing her off with a subsidiary agreement. Here presence would have diluted the power of  his beloved Prussia.

The Crimean War

The Crimean War of 1854-56 showed how much Bismarck had learned and how far he had come from an unquestioning devotion to arch conservatism. Unexpectedly, the war pitched Christian Britain and France in support of the Muslim Ottoman Empire, against Christian Russia, in a bid to stem Russia’s annexation of the Balkans and creeping progress towards the Mediterranean. Arch conservatives, including the King of Prussia, had a lifelong sympathy for the most autocratic crown in Europe (Russia), and for the so-called ‘Holy Alliance’ which in previous decades had bound together the three autocracies of Prussia, Russia and Austria, and so wanted to go to Russia’s support. But Bismarck saw that Prussia’s best course lay in neutrality, which he managed to maintain.

Friendships with France

Russia duly lost the Crimean War and was punished in the resulting Treaty of London. The France of Napoleon III emerged as the strongest power on the continent. Bismarck realised that, for the time being, Prussia should ally with France.

The New Era

In 1858 Prince Wilhelm became regent for his brother the king of Prussia, who had had a stroke. Wilhelm showed himself much more amenable to liberals and German nationalists than his brother. It was the start of a so-called New Era. Bismarck surprised his right wing allies by showing himself remarkably open to the change. He had become well known for predicting that, sooner or later, Prussia would be forced into conflict with Austria for complete dominance of Germany. If liberals and nationalists contributed to Prussia’s strength and readiness for that battle, all the better. This is Realpolitik, you happily change alliances, friends and enemies and even principles – all in support of one consistent goal.

Diplomatic exile

In the new atmosphere, Bismarck’s opponents had him despatched to St Petersburg as Prussian envoy. He was stuck there for three years but although he hated being torn out of domestic politics, he made many useful contacts in Russian circles. Bismarck lobbied hard to be given a high position in Prussia and was recalled in 1862, but Wilhelm disliked his crusty conservatism and despatched him on to Paris.

Appointed Prussian Prime Minister

In 1861 the old king died and his brother ascended the throne as King Wilhelm I. In 1862 arguments between the liberal parliament and conservative administration about reforming the Prussian army led to a constitutional crisis. Bismarck was recalled from Paris and single-handedly persuaded King Wilhelm not to abdicate. Impressed by his staunch support, his parliamentary skill and his knowledge of foreign affairs, Wilhelm appointed Bismarck Prime Minister and Foreign Secretary of Prussia.

1863

Bismarck’s administration found itself embroiled in the ongoing arguments about army reform, as well as problems with the national budget, and sank to record unpopularity. Austria tried to renew the German Confederation on terms favourable to it, but Bismarck persuaded King Wilhelm to reject the demands, and counter-demand Prussian parity with Austria, a joint veto on declarations of war and – in a bold coup – the calling of a new National Assembly based on universal manhood suffrage.

The unification of Germany

30 years ago in my History A-Level, I learned that Bismarck is famous as the man who unified Germany via three short tactical wars. These three wars remain central to his achievement.

1. War with Denmark 

A dispute with Denmark about the ownership of the provinces of Schleswig and Holstein in the Jutland peninsula had been rumbling on since the 1830s. A treaty had been signed in London in 1852. In 1863 the new Danish King, Christian IX, broke the terms of the accord by incorporating Schleswig into Denmark. Bismarck solved the problem by co-opting the Austrians to help, then declaring war and invading the provinces, defeating the Danish army at the Dybøl Redoubt on 18 April 1864. This patriotic victory silenced most of his domestic critics, solved the army problem in favour of substantial extra funding, demonstrated Prussia’s military superiority over Austria, and appealed to all liberal nationalists. Suddenly everyone was behind him.

Hostilities with Denmark rumbled on till October when Bismarck achieved complete control of the two provinces, to be shared between Prussia and Austria.

2. War with Austria 

However, this only delayed the final confrontation between Prussia and Austria for dominance of Germany which Bismarck had been predicting, and planning for, for years. Ever since a new map of Europe was drawn up in 1815, after the defeat of Napoleon, German-speaking populations had been divided up into 39 states and free cities, dominated by big Prussia in the north and the enormous Austrian Empire in the south. From Mike Rapport’s great book about the 1848 revolutions, I learned that German nationalists had for some time been fretting about two alternative solutions to the challenge of creating a ‘united’ Germany, namely to include or exclude the German-speaking population of Austria – the so-called ‘Greater’ or ‘Lesser Germany’ positions.

Bismarck cut through the problem by engineering a war with Austria in 1866, which the Prussians decisively won at the battle of Sadowa on 3 July 1866. He had prepared the way by keeping the Russian Czar onside, liaising with his friend Napoleon III of France, and currying favour with liberals by, once again, proposing a new national Parliament.

After the crushing victory at Sadowa hotheads like Wilhelm I wanted to press on and take Vienna. Bismarck demonstrated his grasp of Realpolitik by refusing all such suggestions and engineering a peace treaty which left Austria with all its territory intact, but forced Austria to agree to the dissolution of the old German Confederation and the reorganisation of all Germany north of the river Main under Prussian control.

Thus Prussia annexed Hanover, Hesse, Nassau and the free city of Frankfurt. By making concessions to liberals at home on the budget issue, Bismarck secured widespread support at home as well as establishing the new North German Confederation under Prussian leadership, as the major power in central Europe. Extraordinary canny success.

Bismarck himself drew up the constitution of the new North German Confederation which was designed, at every point, to extend Prussian power. For example the ‘president’ was to be the King of Prussia, who had sole control of the army and power to appoint or dismiss the Chancellor. Bismarck instituted reforms of trade and freedom of movement, unified weights and measures, and published a new criminal code, which laid the basis for a renewed German economy. From a liberal point of view, these were all reforms they’d been calling for for a generation. From Bismarck’s point of view, that may or may not have been true, all he cared about was these reforms self-evidently made Prussia stronger – his undying goal.

However, the various southern states of Germany revolted against Prussian domination, electing liberal and anti-Prussian governments.

3. War with France

What Bismarck needed was war to prompt in the populations and nationalists of the south German states a sense of patriotic Germany unity which he could then exploit to suborn them into his confederation. For the next few years he closely monitored the situation in Europe for an opportunity.

It came when the throne of Spain fell vacant and a young prince from the Hohenzollern dynasty (the same dynasty as the King of Prussia) who happened to be married to a Portuguese princess, was offered the job.

Bismarck orchestrated both the offer and the timing of its release to the press and via ambassadors to the other nations of Europe, perfectly.

Already concerned about German encroachment into Denmark, political and public opinion in France was outraged at this ‘encirclement’ of France by the Hohenzollern monarchy.

But Bismarck cannily provoked the French government to go too far and demand that not only the young prince renounce the offer (reasonable enough) but that King Wilhelm himself renounce the offer, renounce the claim permanently (Prussia would never offer to put one of its royal family on the throne of Spain), and to apologise to France for any insult.

This demand was sent in a telegram to Bismarck while he was staying at the spa town of Ems. Bismarck was gleeful. He carefully doctored the text of the French demand to make it sound even more blunt, rude and threatening than it already was, and then had it widely published and distributed, ensuring outrage among German opinion at these extortionate demands.

Stung by the widespread publication of ‘the Ems telegram’, the french ruler Napoleon III found himself criticised at home for being weak, and let himself be goaded into declaring war on Prussia. The French Chamber of Deputies roared its approval. Patriotic men thronged to the local barracks all across France. Mobs sang the Marseillaise. The people rushed enthusiastically to war, confident that France had the strongest army in Europe.

Bismarck had achieved everything he wanted to. To the Prussian public, to all the south German states and to the world at large he could present himself as the victim of French aggression. A French army penetrated a few miles into German territory but was then halted and pushed back. Prussian forces quickly counter-invaded, surrounded the fortress at Metz and then massacred the army sent to relieve it, at the Battle of Sedan.

Napoleon III had rushed to the front to lead the French army himself, on the model of his glorious uncle, Napoleon Bonaparte, but he was no Bonaparte and the French army turned out to be a shambles. Napoleon was himself captured and the Second Empire collapsed. Bismarck had achieved his goal.

However, the French elected a new government and fought on, compelling the Prussians to march on to Paris and subject it to a prolonged siege which dragged into 1871.

The Franco-Prussian War and the rising up of the revolutionary Commune in Paris in 1871, are two long stories in their own right. More important from Bismarck’s point of view, was that the southern German states did indeed a) come in in support of Prussia b) go further and sign up to the German Confederation – Baden and Hesse-Darmstadt in 15 November, Bavaria and Württemburg on 23 November.

This meant that Bismarck could announce the climax of all his ambitions – the declaration of a new German Reich or Empire, with the Prussian King Wilhelm I, as its Kaiser or Emperor.

Symbolically, this grand ceremony didn’t take place on German soil at all but in the Hall of Mirrors at the Palace of Versailles in France, occupied by the Germans for another four months until a final peace treaty was signed with France.

German unification – which so many nationalists and liberals had been hoping for throughout the nineteenth century, was only achieved thanks to the ruthless destruction of France. Germany was forged amid bloodshed and war. This key fact of modern European history has more than symbolic importance. It was to resonate on through the next 80 years of European history…

A map of German unification

This handy maps shows how extremely fragmented Germany was between 1815 and the 1860s. Note how even Prussia itself was splintered, with the sprawling eastern half separated from Westphalia in the west by tiny statelets like Hanover, Brunswick and Anhalt.

Black arrows show the route of Prussian armies a) north into Holstein and Schleswig in 1864, b) south-east into the province of Bohemia (part of the Austrian Empire) to the battle site of Sadowa in 1866, and c) west through the Palatinate and Alsace into France and towards the decisive battlefield of Sedan in 1870.

The unification of Germany 1815-71

The unification of Germany 1815-71

Preserving the balance of power

Given the unstintingly reactionary Prussian beliefs of the young Bismarck and the blunt brutality with which he was prepared to go to war three times to achieve his aims, I’ve always thought the most intriguing and impressive thing about him was the way that, once he had achieved his stated aims, Bismarck stopped war-mongering and had the wisdom to consolidate.

The European balance of power 

Admittedly this was partly a reaction to the response of the other powers to the arrival of a large unified new power in the centre of Europe. Britain, a recovering France, and autocratic Russia, all reacted with alarm.

From Bismarck’s perspective it was a gift when trouble erupted in the Balkans, namely nationalistic uprisings of Serbs and others against Ottoman Rule, which led to the Russo-Turkish War of 1877-78. THis distracted everyone’s attention away from Germany, and when the peace conference which ended the war was held in Berlin – the Congress of Berlin 1878 – Bismarck was able to present himself as a genially ‘honest broker’ between the various parties, with no vested interests in the area.

However, Russia was left aggrieved when it didn’t get all it wished, namely access to the Dardanelles (and so the Mediterranean) and felt badly rewarded for the policy of benign neutrality which it had adopted during the Franco-Prussian War.

As a result of this resentment, the ‘League of Three Emperors’ (Russia, Prussia, Austria) fell apart and Russia found herself being drawn into alliance with France.

This created the nightmare scenario, for Bismarck, of facing enemies on two fronts, east and west, and so he sought a rapprochement with Austria to the south, cemented in the Dual Alliance of 1879, and expanded to include Italy in 1882.

Thus this final third of Ullrich’s book shows how the seemingly innocent aims of German nationalism, which sounded so reasonable in the 1840s, led inevitably to a situation where Germany became permanently paranoid of being attacked on both its flanks, and led to the creation of the network of alliances which was to be triggered, with disastrous consequences, when Austria invaded little Serbia, in August 1914.

German colonies

Initially Bismarck was dead set against Germany acquiring colonies as a distraction from the more important task of unification and consolidation. But he changed his mind.

He was motivated by a conscious desire to create enmity with Britain, who he was afraid would gain too much influence over the German state, seeing as the Kaiser’s heir, the young Crown Prince (Wilhelm II-to-be) had married a daughter of Queen Victoria.

Partly it would bring Germany into friendly collaboration with France in the South Seas and Africa where their colonies bordered each other.

With this new motivation, Germany took part in the ‘Scramble for Africa’ from the 1880s onwards, acquiring Togoland, Cameroon, German East Africa and German South-West Africa, where they proceeded to behave with genocidal brutality. But Bismarck wasn’t all that interested in the details. Europe was always his focus.

Domestic politics

From the 1860s to 1890 Bismarck ruled Prussia, then the newly united Germany. It’s a long period and a lot happened, including:

  • A financial and economic depression starting in around 1873. This provoked anger, frustration, and the rise of modern anti-Semitism, the association of Jews in the popular press and among all classes with cosmopolitan capitalists, financiers, with the alleged bloodsuckers who were bleeding germany dry.
  • The southern states so recently joined to Germany were predominantly Catholic and banded together to form a Catholic party in the new Reichstag. The impeccably Protestant Bismarck saw this as a political threat and implemented a sweeping set of laws designed to restrict Catholic involvement in public life. These sweeping anti-Catholic polities became known as the Kulturkampf or Culture War.
  • Bismarck attacked Social Democratic movements by banning newspapers, political meetings and so on – but this policy rebounded. It hardened the resolve of social democrats and socialists, and created an embattled atmosphere in which radical theories like those of Karl Marx flourished.
  • On the other hand, Bismarck sought to undermine the appeal of radical politics by acceding to many of its policies. Between 1881 and 1889 Bismarck oversaw laws introducing sickness and accident insurance, old age and invalidity pensions – giving Germany the most advanced welfare state anywhere in Europe. Once again not because he particularly ‘believed’ in these policies; but because he saw them as an effective way of neutralising his enemies and retaining his grip on power.

For these next twenty or so years, from 1871 to 1890, Bismarck was the dominating figure in German politics, stamping his personality on the era in the so-called ‘Bismarck System’, and projecting it across Europe into the Concert of Powers.

During the 1880s, Bismarck’s policy of maintaining the status quo at any costs (including himself as Chancellor) came to seem more and more outmoded in a world where large-scale migration from the agricultural east to the industrial west was fuelling the runaway success of German heavy industry, leading to the growth of new cities and industrial areas, with the concomitant rise of working class militancy and new political demands. Economic, technological and social changes increasingly called for new policies.

Kaiser Wilhelm II

In March 1888 Kaiser Wilhelm I died and Crown Prince Friedrich Wilhelm succeeded him as Friedrich III. However, he had throat cancer and died after a reign of just 99 days. He was in turn succeeded by his eldest son, who took the throne as Kaiser Wilhelm II – the same Kaiser Bill who ruled Germany during the First World War.

There was no love lost at all between the self-confident young ruler, aged 39, who wanted to change everything and the old Chancellor aged 73, who wanted everything to stay just the same.

The conflict quickly came to a head as Bismarck devised a new law solely designed, in his usual way, to create division among the centrist parties currently in power and keep them weak. The Kaiser refused to begin his new reign with strife and confrontation, and instead expressed a desire to extend the welfare system for the poor.

With typical thoroughness Bismarck worked through all the options available to him, including forming an unlikely alliance with an old bete noire, the leader of the Catholic party. He even, apparently, contemplated some kind of coup in which he usurped the Kaiser. But as his allies deserted him, Bismarck finally realised his time had come and, on 12 March 1890, tendered his resignation to the Kaiser in a letter which, characteristically, blamed the king for forcing him out and made ominous threats about the disasters which must inevitably follow when he had gone.

It was the removal of Bismarck which gave rise to the famous cartoon by Sir John Tenniel (illustrator of the Alice in Wonderland books) first published in the British magazine Punch on 29 March 1890, ‘Dropping the pilot’.

Image result for dropping the pilot

Most educated Germans were grateful that a long period of stagnation was over. Liberals looked forward to an era of reform. But the foreign powers regarded Bismarck most importantly as a man of peace, a lynchpin in the system of European stability, and worried about what would come next.

Bismarck went into disgruntled retirement where he dictated his memoirs in a hodge-podge manner until his death, aged 83 in 1898. He was a crude, blustering, reactionary bully, but cunning, clever and hard-working. By and large, countries get the leaders they deserve.

A liberal summary

Opinions about Bismarck are as divided today as they were at the time. One contemporary critic wrote that:

He made Germany great and Germans small.

Meaning that Bismarck’s policy of dividing and ruling his parliamentary opponents, of allying with particular parties when he needed them and then dropping them when he didn’t; of deliberately undermining any power bases or parties which threatened his own rule – all this conspired to keep German political culture immature, preventing the growth of a diverse and politically mature middle class, the key social element which is the sine qua non of democracy.

Instead, Bismarck acculturated an entire generation to deferring to a Strong Leader. His readiness to muzzle the press, undermine the civil service, ignore parliament, his cultivation of anti-Semitism, his use of foreign wars as a tool for maintaining domestic power, all these set a very bad precedent.

As did the extremist attitude and language he injected into German political culture.

He who is with me is my friend, he who is against me is my enemy – to the point of annihilation.

The violence of his language towards anyone who stood in his way – liberals, social democrats, Catholics, Jews, the French – set a toxic tone to German political culture which was to poison it for the next fifty years.

That Germany would be united sooner or later was probably inevitable. That it was united by such a reactionary, manipulative, authoritarian bully was not necessarily inevitable, and was to have terrible consequences.

Bismarck quotes

An eminent European statesman for such a long period, Bismarck had various quotes attributed to him, including:

Politics is the art of the possible.

Not by speeches and votes of the majority, are the great questions of the time decided – that was the error of 1848 and 1849 – but by iron and blood. (giving rise to the phrase ‘blood and iron’)

The whole of the Balkans is not worth the bones of a single Pomeranian grenadier.

The best one of all is, alas, unverified:

Sausages are like laws: I enjoy them both, but it is best not to enquire too closely into how either of them are made.


Related blog posts

The Weimar Years: A Culture Cut Short by John Willett (1984)

This is a large format Thames and Hudson paperback (27 cm by 23 cm) which is designed to foreground large black and white historic photos and images rather than text.

After a short 10-page introduction, almost the whole book consists of assemblies of original images from the avant-garde of the Weimar culture, with only a small amount of accompanying commentary. It is a visual history. Just to recap the main events, the period falls roughly into three parts:

  1. 1918-1923 Post-war economic and social chaos
  2. 1924-1929 Peace and stability
  3. 1929-1933 Wall Street crash prompts more economic and social chaos, leading to the appointment of Hitler chancellor in January 1933, at which point the republic ends

The three periods of the Weimar Republic

1. The First World War ended in November 1918. The Kaiser abdicated to be replaced by a civilian government. The two commanding generals Ludendorff and Hindenberg made sure that this civilian government signed the peace, thus allowing them forever afterwards to blame civilians for stabbing the army in the back. In the same month there were coups in Berlin, Munich and elsewhere to try and set up revolutionary councils and soldiers and workers, which is how the Bolshevik revolution started.

For the next three or four years the Communist International in Moscow held out high hopes that Germany would fall to communism and trigger a Europe-wide revolution. In the event all these insurrections were put down by Freikorps or locally organised militia. Right from the start the left-liberal government had to rely on the army to keep it in power, and this was to prove a fatal weakness.

In March 1920 some of the Freikorps tried to overthrow the Berlin government and the army did nothing; it was only a general strike and popular armed resistance which restored the government. In 1922 Freikorps elements murdered Walter Rathenau, the Republic’s Foreign Secretary who had negotiated a trade treaty with the USSR and was Jewish. This led to outbreaks of anti-republican and communist agitation in the streets.

The terms of the Treaty of Versailles, announced in summer 1919, caused great resentment. It blamed Germany entirely for the war, seized over 10% of Germany’s territory in the east (given to Poland) and west (Alsace-Lorraine returned to France), took away all Germany’s colonies and imposed a punishing reparations bill. In 1922 failure to keep up repayments led the French to send in troops to reoccupy the Ruhr industrial area.

The government replied by ordering a go-slow by German workers. This undermined an already weak economy and exacerbated inflation. Mid- and late-1923 saw the famous hyperinflation where a loaf of bread ended up costing a billion marks, where people carried bank notes around in wheelbarrows and eventually stopped using money at all. In November Hitler and his infant Nazi Party tried to mount a coup against the Bavarian government, in Munich, which was quickly quelled by the authorities.

2. The Americans drew up a plan devised by Charles G. Dawes to give Germany huge loans which it could use to invest in industry. Higher taxes from increased industrial productivity could be used to pay off the French (and the French could then pay off the huge war debts they’d run up with the Americans). The deal was finalised in the autumn of 1924.

The point is that as a result of the stabilisation of the currency and the confidence given to business by the certainty of American investment, the entire country underwent a great feeling of relief. Street fighting disappeared, strikes and industrial unrest diminished, the government could proceed with coherent economic policies. Leaders of the Soviet Union reluctantly abandoned the dream they’d been nurturing since 1919 that Germany would fall to communism. There were political ups and downs over the next five years but economic stability and increasing employment meant that extremist parties on both sides (Nazis, communists) lost support.

3. In October 1929 there was the Wall Street Crash. American banks withdrew all their loans in order to stay solvent and that included the loans to Germany. The German economy crashed, companies large and small went bust, and there was a phenomenal growth in unemployment. The effect was to revive the social unrest of the post-war period, to polarise political opinion and to encourage extremist parties to opt for street violence.

In the September 1930 Reichstag elections, the Nazis won 18% of the votes and became the second-largest party in the Reichstag after the Social Democrats. Hitler ran for President against the incumbent Hindenburg in March 1932, polling 30% in the first round and 37% in the second against Hindenburg’s 49% and 53%. By now the Nazi paramilitary wing, the Sturmabteilung, had 400,000 members and its running street battles with the SPD and Communist paramilitaries (who also fought each other) reduced some German cities to combat zones.

At the July 1932 Reichstag election the Nazis polled 37%, becoming the largest party in parliament by a wide margin. The Nazis and Communists between them had won 52% of the vote and a majority of seats. Since both parties opposed the established political system and neither would join or support any ministry, forming a majority government became impossible. The result was weak ministries forced to rule by decree.

During the second half of 1932 there was much behind the scenes manoeuvring. Chancellor von Papen, his successor Kurt von Schleicher and the nationalist press magnate Alfred Hugenberg, spent December and January in political intrigues that eventually persuaded President Hindenburg that it was safe to appoint Hitler as Reich Chancellor, at the head of a cabinet including only a minority of Nazi ministers – which he did on 30 January 1933. Hitler was Chancellor of Germany but still restricted by democratic forms.

The Reichstag fire on 27 February 1933 gave Hitler a pretext for suppressing his political opponents. The following day he persuaded the Reich’s President Hindenburg to issue the Reichstag Fire Decree, which suspended most civil liberties. On 23 March, the parliament passed the Enabling Act of 1933, which gave the cabinet the right to enact laws without the consent of parliament, in effect giving Hitler dictatorial powers.

Now possessing virtually absolute power, the Nazis established totalitarian control – they abolished labour unions, all other political parties and imprisoned their political opponents at the first, largely improvised concentration camps. The Nazi regime had begun.

The three periods of Weimar arts

1. The Expressionist years 1918-23

Before the war German art was dominated by Expressionism. This had two key elements: it was an art of personal expression; and this personal expression was influenced by current ideas about the spirit, about a great spiritual awakening, about a new world of art and culture about to be born etc, as a glance at the writings of Kandinsky or Franz Marc make clear. Paradoxically this highly personal view of the world could easily tip over into grand paranoia, fear, a sense of brooding catastrophe, anxiety, terror etc.

Unsurprisingly, it is these elements of the grotesque and nightmarish which artists felt and expressed during and immediately after the Great War. Thus the works made by artists like George Grosz or Bertolt Brecht in 1919 to 1923 can loosely be called Expressionist. Similarly the immediate post-war years in film were the high point of Expressionism, with horror films like The Cabinet of Dr. Caligari (1920) or Nosferatu (1922) famous for their jagged Expressionist sets.

Scene from The Cabinet of Dr. Caligari (1920)

Scene from The Cabinet of Dr. Caligari (1920)

Extreme emotion was exacerbated by disillusionment with the failure of the 1918 revolution by many of the artists involved in it such as Piscator, Brecht, Carl Zuckmayer, George Grosz. For the next few years their Expressionism was given extra bite by savagely satirical disillusionment, by the realisation that the SPD’s socialism was only skin deep and that the army would always step in to crush any revolt, any rebellion, any revolutionary forces. Hence the talismanic meaning, for years to come, of the murder in the streets by thuggish Freikorps of the two heroes of the Spartacist or communist party, Karl Liebknecht and Rosa Luxemburg on 15 January 1919.

Blood is the Best Sauce from the portfolio God with Us by George Grosz (1919)

Blood is the Best Sauce from the portfolio God with Us by George Grosz (1919)

The Bauhaus, a kind of bellwether for all these developments, was in its Expressionist phase. Although the director was Walter Gropius, the introductory course and much of the tone was set by the eccentric Johannes Itten, a believer in mystical Eastern religions, who imposed vegetarianism and breathing exercises on his students.

2. The high point – New Objectivity 1924-29

Around 1924, as the economy and political situation stabilised, the Expressionist wave in the arts was exhausted. Instead this is the golden era of the so-called Neue Sachlichkeit or New Objectivity. The term was coined by Gustav Friedrich Hartlaub as the title of an art exhibition staged in 1925 in Mannheim to showcase artists working in the new spirit, namely Max Beckmann, Otto Dix, and George Grosz. At the Bauhaus, the spiritualist Ittens was sacked and replaced by the tough-minded Hungarian émigré and polymath László Moholy-Nagy. Willett hesitates over the translation of Sachlichkeit – his 1978 book on the period prefers to translate it as ‘objectivity’. Here he suggests it means ‘matter-of-factness’ (p.81). It represented a completely new mood and approach. Hard edges and technology. Design for the machine age.

  • Instead of self-involvement – objectivity, interest in the social world, the masses.
  • Instead of art promoting the artist – artists sought collaboration, both among themselves (thus Grosz’s collaborations with John Heartfield on photomontages) and with the public (in the new forms of agit-prop or street theatre, often performed in factories and workplaces and calling for audience participation). From among hundreds of examples, Piscator’s 1929 production of A Merchant of Berlin had a set designed by Moholy-Nagy and music by Eisler.
The photojournalist Egon Erwin Kisch as depicted by photomontagist Otto Umbehr aka Umbo (1926)

The photojournalist Egon Erwin Kisch as depicted by photomontagist Otto Umbehr aka Umbo (1926)

  • Instead of vague romantic idealism – hard-headed practical engagement with the problems of the age. Hence a slew of movements with ‘time’ in the name Zeitoper, Zeitstück.
  • Instead of the ‘demented’ Expressionism of Caligari – the purposeful social criticism of All Quiet on the Western Front (1930).

Or, as the pioneering stage director Erwin Piscator said, in 1929:

In lieu of private themes we had generalisation, in lieu of what was special the typical, in lieu of accident causality. Decorativeness gave way to constructedness, Reason was put on a par with Emotion, while sensuality was replaced by didacticism and fantasy by documentary reality.

Scene from Hoppla wir Leben, directed by Erwin Piscator, Berlin, 1927

Scene from Hoppla wir Leben, directed by Erwin Piscator, Berlin, 1927

This is the period Willett loves. This is the heart of his enthusiasm. This is the moment Willett claims that artists, designers, architects, theatre and film directors in the Soviet Union and in Weimar Germany converged in a period of hyper-experimentalism, making massive breakthroughs in adapting their respective media to the demands and possibilities of the machine age. New media called for new ideas and the creation of photojournalism, documentary cinema, broadcasting, radio, and gramophone records. El Lissitsky and Rodchenko devised new styles of graphic design, magazine and poster layout. Eisenstein’s film Battleship Potemkin (1925) rejected the crazy fairy tale sets of Expressionism, and instead used thrilling new technical techniques like montage, shock close-ups, setting the camera at high angles to the action and so on to tell an entirely realistic, in fact brutally graphic tale of revolutionary insurrection.

Brutal close-up from the massacre of civilians scene of Battleship Potemkin (1925)

Brutal close-up from the massacre of civilians scene of The Battleship Potemkin (1925)

Crucial to Willett’s view is that there was a tremendous amount of cross-fertilisation between the avant-garde in Russia and in Germany, though that idea is explored much more in The New Sobriety – this book focuses exclusively on the German side of the equation.

In 1925 the Weimar government withdrew funding from the first Bauhaus, which accordingly moved to Dessau, into purpose-built modernist buildings designed by Gropius. The buildings remain classics of modernism to this day, and the new, industrially-focused school dispensed with the arty farty flummery of the Itten years and began designing all kinds of practical fixtures and fittings which would suit the modern, stripped-back architectural style. From this period date the famous tubular steel and leather chairs, along with sets of tables, chairs for factory canteens and so on. Practical, sober, industrial.

Bauhaus Building, Dessau on opening day, 4 December 1926

Bauhaus Building, Dessau on opening day, 4 December 1926

It is during these years that Willett feels the collective effort of creative people in all media took modernism to ‘a new level’ (a phrase he uses several times) and stood on the brink of creating an entirely new civilisation. Willett’s passion convinces you with an almost science fiction feeling that a completely new society was trembling on the brink of appearing.

This explains his contempt for the workaday, wishy-washy, luxury goods associated with Art Deco in France. For Willett French culture sold out, compromised and abandoned the quest for a truly new world. This was because the economic and social structure of French society (as of British society) had remained unchanged by the war so that aristocrats kept on buying Lalique jewellery and holidaying on the cote d’azur decorated by tame artists like Dufy or Derain. French culture was both a) more centralised in Paris only and b) still reliant on the patronage of the rich.

By contrast German society was turned upside down by the war and the intense political upheavals of the post-war. An important factor was the way the last aristocratic principalities became fully part of the German nation, often turning over art galleries, schools, theatres and opera houses to the new state. The (generally socialist) regional governments took over funding for the arts from aristocrats and often lent a sympathetic ear to avant-garde experiments.

Poster for the 1923 Bauhaus exhibition by Joost Schmidt

Poster for the 1923 Bauhaus exhibition by Joost Schmidt

While French designers created Art Deco ink stands adorned with scantily clad nymphs, Marcel Breuer at the Bauhaus designed a completely new typography for the German language, rejecting all capital letters and serif styles, as well as designing the famous leather chair. Gropius and colleagues designed entirely new style of council estates for workers at Stuttgart. Moholy-Nagy oversaw his students’ new designs for lamps and chairs and tables, while the Bauhaus wallpaper department devised coolly objective, undecorative wallpaper designs which still sell to this day.

The pioneering Bauhaus chair of tubular steel and leather

The pioneering Bauhaus chair of tubular steel and leather

While Paris was staging the arch neo-classical works of Stravinsky and Les Six, politically committed German composers like Kurt Weill and Hans Eisler were working with communist playwright Bertolt Brecht to write songs for a new kind of play designed to convey powerful communist propaganda messages, and these were staged in an entirely new style by the revolutionary director Erwin Piscator, using bare, undressed sets, with the lights exposed and projecting onto bare walls relevant bits of movie footage or headlines or facts and figures and graphs showing the economic situation. The composer Paul Hindemith became associated with the notion of Gebrauchmusik i.e. music that was socially useful and Eisler took this to mean propaganda music, marching songs and the like, which could be widely disseminated among Germany’s many community music groups.

Not all these innovations worked or were very popular, but it was an explosion of talent experimenting in all directions. As Willett emphasises, many of their innovations are still used today – stark, exposed, non-naturalistic sets in the theatre – street theatre – abrupt cuts and high angles in experimental film – and a lot of the language of architecture and design developed by the Bauhaus architects went onto become a truly International Style which dominated the 20th century.

In 1925:

  • the Bauhaus moved to Dessau
  • Eisenstein’s Battleship Potemkin (and Charlie Chaplin’s The Gold Rush)
  • Ernst May is given the opportunity to deploy socialist architecture in a grand rehousing scheme begun by Frankfurt council
  • in Mannheim the artistic exhibition Neue Sachlichkeit
  • Bertolt Brecht moves to Berlin
  • December, Alban Berg’s opera Wozzek has its premiere
  • elementare typographie, was an influential supplement of Typographic Notes, the journal of the Educational Association of German Book Printers in Leipzig. The supplement was laid out by Jan Tschichold using innovative principles he’d picked up on a visit to the Bauhaus and included contributions from Bauhaus staff such as Bayer, Lissitsky, Moholy-Nagy and so on
elementare typographie designed by Jan Tschichold (1925)

elementare typographie designed by Jan Tschichold (1925)

3. The final crisis 1929-33

All of which was cut short by the Wall Street Crash of 1929. Throughout 1930 the Germany economy went into a tailspin and unemployment climbed out of control. During these three years of mounting crisis, 1930, 31 and 32, many of the artists he’s discussed reached new heights of commitment, especially Brecht who produced a series of his most stingingly anti-capitalist works.

But Willett shows how a reaction had already set in in Russia where, from about 1928, the chilly winds of Stalin’s influence began to blow through the arts. The suicide of the famous communist poet Mayakovsky in 1930 is often heralded as a tipping point. In 1932 the official doctrine of Socialist Realism was proclaimed and experimentation in the arts came to a grinding halt, to be replaced by kitsch paintings of happy smiling workers and the beaming features of the Great Leader, Stalin.

For completely different reasons a similar chilling came over the avant-garde in Germany. In 1930 nationalists took control of the state government in Thuringia and secured the resignation of the Bauhaus’s overtly communist director Hannes Meyer (who had replaced Gropius in 1928). Meyer quit and went to Russia, taking with him a dozen or so of the most politically committed students. He was replaced by the noted architect Mies van der Rohe, who was given the job of depoliticising the Bauhaus, especially the radical students. He did his best but the Bauhaus was on the list of institutions the Nazis considered enemy, and in 1933 they secured its final closure.

Summary

This is a visually powerful portfolio to support Willett’s thesis that a new fully modernist civilisation trembled on the brink of realisation in the uniquely innovative and experimental artistic culture of the Weimar Republic. This is more accessible and makes its points more viscerally than the often very clotted New Objectivity book, but probably both should be read together, not least to make sense of the Soviet connection which is omitted here but explored in numbing detail in the other book.

In passing I noticed that there’s no humour whatsoever in this book. Nothing for children, no book illustrations or cartoons. A handful of political cartoons radiating bitter cynicism but, basically, not a laugh in sight.

The other absence is sex. In the popular view Weimar is associated with the ‘decadence’ of the Berlin cabaret, with openly lesbian and gay bars and vaudevilles. Willett is having none of it. His Weimar is a puritan republic of high-minded artists, designers and architects devoted to bringing into being a better world, a fairer world, a workers’ world. There is a one-page spread about a volume of short stories whose cover showed a man groping a fully dressed woman but this is included solely to tell the story of how it was censored by the Weimar authorities. Sex is a bourgeois indulgence which undermines the dedication of the committed worker and intellectual.

Once you start pondering this absence, you realise there is little or nothing in either of Willett’s books about fashion, haircuts, dresses, about style and accessories, about new types of car and motoring accessories (gloves, goggles, helmets), about cartoons, popular novels, detective stories (this was the decade of Agatha Christie and Dorothy L. Sayers). He mentions jazz, of course, but only as it inspired painters and German composers to include it as a theme in their serious works about social justice – not as a thing to relax and enjoy

Only by looking at other books about the same period and reading about the explosion of pastimes and leisure activities, of ways to have fun, does it dawn on you how very intense, very urban, very cerebral and very narrow Willett’s view is. His dream of a ‘new civilisation’ is just that, a dream.

Which also makes you realise how thin and brittle this layer of hyper-inventiveness in the arts turned out to be, how little it had spread, how little it had influenced or changed the minds or lives of the vast majority of the German population. When the crunch came, they followed Hitler, and acquiesced in the burning of the books, the banning of the plays, and the ridiculing of ‘degenerate art’.


Related links

Related reviews

%d bloggers like this: