Tate Liverpool | International Modern Art | The Call to Order

The resources available in this section contextualise the display in a number of ways, providing you and your pupils with a variety of approaches with which to engage with works and share ideas.

Images

Audio

Installing a 155mm Schneider - Gun, South of Faloise, Somme, 6 April 1918

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WWI photo from Imperial War Musuem

French troops, South of Faloise, the Somme, 6th April 1918. Throughout the 1920's, Modernist interest in the rationality and order of classical imagery was primarily a response to direct experience of the First World War.

Installing a 155mm Schneider - Gun, South of Faloise, Somme, 6 April 1918. French official. Negative number Q70052
© Imperial War Museum, London.

View of the Studio with the Ecorche After the Antinous, 1901-2

Brancusi's classical statues

Constantin Brancusi's documentary photograph demonstrates his reliance on studies from classical sculpture.

View of the Studio with the Ecorche After the Antinous, 1901-2.
© ADAGP, Paris and DACS, London 2004

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Film Les Enfants Du Paradis

The Pierrot as a figure of unrequited love, in Marcel Carne's masterpiece Les Enfants du Paradis

A still from Marcel Carnes film Les Enfants Du Paradis
© Pathé Renn Production

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Suffragettes outside the office of Liverpool Workers Suffrage Society. Circa 1916

Suffragette image, from People's History Museum

Classical,'timeless' images of women, popularized by artists such as Matisse, were common in Modernist art during the inter-war years. This de-politization was at odds with the continued strength of the Women's Movement during the same period.

Group of suffragettes gathered outside the office of Liverpool Workers Suffrage Society. Circa 1916
© Image courtesy of People's History Museum

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