Klee painted the Revolution of the Viaduct after the Nazi art exhibition with a kind of veiled criticism that you have to work for. These are rebellious arches, used to be orderly arches in a row but they have sprung free from their regimented set way, displaying different sizes, colors, some have two arches, and they seem to be marching in a kind of group. they are escaping from conformity and prompting their own individuality. this could be a reaction towards the increasing Nazi party and the way they could move the masses. The point is being made that the practical really is at the same time the beautiful (Breuer).

As a part of purism in France, Leger 3 Women, is depicted using classical forms with sleek industrial machinery and commercial advertising and is suggestive of the three muses. His objects have no symbolism, no hidden iconography. its the play of shapes purely formal, employing objects for their design and density. using objects for their purity of form or simplifying their form to create a pure object that he can depict. he saw these pure forms as stabilizing designs as static but also dynamic in the patterns. acts as two dimensional sculptural forms with heavy outlines that bind an architecturally construct foundations, creating a solidity. The three women seem to have volume and heft and are shaded like a cubist painting. By using spheres columns and tubes Leger creates a cult of the object with disjointed nudes creating angular rhythms. The triangular forms are made of spheres and circles. He is disconnecting the body and recreating it, trying to create a rhythm but not trying to investigate the human body. The women are mass produced sameness, there is not individual differences between the figures. The objects in the work shows the cult of the objects. they are deprived of their humanity in that they are reduced to rhythms and shapes. drapes in the background create a rhythm with their hair, repetitive patterns interesting formal play. association of objects with consumers and the commercial aspect of life paralleled with the artistic. The intent is to show that art is still alive despite cultural situations that seems hostile to the essence of art. artist in the midst of the catastrophe have begun to ponder what is most immediate, certain, and durable truth craft (Hartlaub).

Picasso Guernica is the most famous response to the bombing of Guernica. At the time Picasso was living in Paris when he was approached to do a mural for the Paris Exhibition of 1937. The artist in this movement  weren’t necessarily political but when events happen at such an extreme it isn’t escapable. The official theme of the Paris exhibition was the celebration of technology, the organizers hoped that this would bring a vision of a bright future to break the nations out of their depression and social unrest, of course this is the very same technology that can cause results such as Guernica, providing a biting satyr just in its placement in this exhibition. The overall scene is suggestive of an interior room that seems to be crumbling down around the figures, allowing for peeks onto the outside world. On the left there is a wide eyed bull standing above a woman holding a dead child in her arms, in the center there is a horse that is falling in agony. Notice that the tongues of the horse and the bull are these knife like blades and the cubist fracturing seems to very much work for a scene of such destruction and anarchy. There is a large gapping wound in the horse’s side that seems to be the focus of the painting as it is falling in agony. There are supposedly two hidden images, skulls overlaying the horses body and a bull appears to gore the bull from underneath. Basically it is a scene of horror and terror. On the right there is a figure sweeping in holding a lantern, possibly a symbol of hope, bearing witness to this tragedy. She is a figure of ourselves, because if we witness this and remember it we still have hope. The limited palate was influenced by the numerous photographs taken after the bombing. The painting itself was kept away and put in a corner at the exhibition, following the exhibition it toured around the world, the only place it didn’t go was Spain. Picasso didn’t want it to return there until the entire country could enjoy public liberties and democratic institutions.