This looks like pop surrealism but it covers deeper themes. Western civilisation – which might be very broadly defined as democratic, secular, and capitalist – is not as highly regarded as it was fifty years ago; some observers even claim its decline is irreversible. The disembodied heart in the foreground represents abandoned love, be it love for one’s nation (now commonly rejected as a source of bigotry and war) love for an omnipotent god (an imported Middle Eastern notion, now mostly discredited through science and philosophy) or love for a single partner (a similarly unpopular notion in an age of sexual liberty). These sentiments have been largely replaced by the promiscuity and hedonism of extended adolescence (represented by the creature with the pink confection on the left) and a shriller kind of nationalism more concerned with past glories than present-day realities (represented by the creature with the broken sabre on the right). The crescent moon in the background alludes to the rise of Islam, a younger Middle Eastern faith that exerts a growing influence. The title “Bathtime for Hermann” was suggested by a friend; its Dadaist absurdity fits the aesthetics of this piece.