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Les opinions qui y sont exprimées le sont à titre personnel.
Elles n'engagent que leurs auteurs, et en aucune manière cette organisation.
Visitez le site officiel de Lutte Ouvrière • Consultez la charte du forum
L'art et la critique sociale
par com_71 » 01 Déc 2002, 12:13
Pour changer un peu je vous expose un :staline: ien.
John Heartfield
Germany, like all other countries during the First World War, was gripped by a "patriotic" frenzy. Supporters of the German empire had succeeded in creating a political environment where "God punish England" became a common greeting on the street. Protesting this idiocy, the young artist Helmut Herzfeld changed his name to John Heartfield.
The young Heartfield was influenced by the soldiers on the western front, who unable to get their reports passed military censors, turned to pasting photographs together in order to relate the horror of the battlefield to their friends and relatives back home. Inspired by this as well as the collage of the cubists, Heartfield and his close friend and fellow artist George Grosz, invented photomontage.
During the twenties Heartfield created photomontage bookcovers for the Malik Verlag, a Berlin publishing house which published the best of the world's left-wing literature, from Upton Sinclair and Richard Wright to Maxim Gorky. Heartfield worked for several radical newspapers and began to contribute regularly to the Arbeiter Illustrierte Zeitung or Workers Illustrated Paper (AIZ).
As Germany spiraled ever downward into the abyss of fascism, Heartfield's art became increasingly acrid and aggressively political. In unrelenting denunciations of the Nazis and their backers, his works became ingrained in the mind and eye of a generation. Everyweek, a half a million copies of AIZ would be distributed to anti-Fascists impatient for the latest Heartfield photomontage. His art would fulfill what Picasso once considered to be the purpose of painting, to create works that would be the "instruments of war for attack and defense against the enemy."
The situation had become dire. There were mass arrests and executions, the concentration camps were beginning to fill up. Recognizing the power of Heartfield's art, the Nazis were determined to arrest him, but he escaped to Prague in 1933, where he continued his artistic work against the terror in his homeland. The Nazi regime protested his being able to exhibit in exile and demanded his extradition, ultimately depriving him of German citizenship. After the Nazi invasion of Czechoslovakia he made a narrow escape to London, where he organized anti-Fascist groups, spoke at political rallies and wrote on the relationship of art and politics.
In 1950 Heartfield returned to East Germany and was welcomed with a retrospective exhibition. Celebrated as a cultural leader, he kept busy doing stage design, posters and book jackets. On occasion he paralleled the power of his earlier works, taking on the issues of Atomic weapons and the Vietnam war, but the days working for freedom during the Nazi period were his most brilliant and productive years. John Heartfield died in Berlin on April 26 1968.
1930 Whoever reads bourgeois newspapers becomes blind and deaf. Away with the stultifying bandages!
1932 Adolf, the Superman: Swallows gold and spouts rubbish.
This photomontage was published after Hitler's important speech to Rhineland Industrialists in Dusseldorf 1932, before he became Reich Chancellor in 1933.
1932 Do you want to fall again, so that shares rise?!
John Heartfield
Germany, like all other countries during the First World War, was gripped by a "patriotic" frenzy. Supporters of the German empire had succeeded in creating a political environment where "God punish England" became a common greeting on the street. Protesting this idiocy, the young artist Helmut Herzfeld changed his name to John Heartfield.
The young Heartfield was influenced by the soldiers on the western front, who unable to get their reports passed military censors, turned to pasting photographs together in order to relate the horror of the battlefield to their friends and relatives back home. Inspired by this as well as the collage of the cubists, Heartfield and his close friend and fellow artist George Grosz, invented photomontage.
During the twenties Heartfield created photomontage bookcovers for the Malik Verlag, a Berlin publishing house which published the best of the world's left-wing literature, from Upton Sinclair and Richard Wright to Maxim Gorky. Heartfield worked for several radical newspapers and began to contribute regularly to the Arbeiter Illustrierte Zeitung or Workers Illustrated Paper (AIZ).
As Germany spiraled ever downward into the abyss of fascism, Heartfield's art became increasingly acrid and aggressively political. In unrelenting denunciations of the Nazis and their backers, his works became ingrained in the mind and eye of a generation. Everyweek, a half a million copies of AIZ would be distributed to anti-Fascists impatient for the latest Heartfield photomontage. His art would fulfill what Picasso once considered to be the purpose of painting, to create works that would be the "instruments of war for attack and defense against the enemy."
The situation had become dire. There were mass arrests and executions, the concentration camps were beginning to fill up. Recognizing the power of Heartfield's art, the Nazis were determined to arrest him, but he escaped to Prague in 1933, where he continued his artistic work against the terror in his homeland. The Nazi regime protested his being able to exhibit in exile and demanded his extradition, ultimately depriving him of German citizenship. After the Nazi invasion of Czechoslovakia he made a narrow escape to London, where he organized anti-Fascist groups, spoke at political rallies and wrote on the relationship of art and politics.
In 1950 Heartfield returned to East Germany and was welcomed with a retrospective exhibition. Celebrated as a cultural leader, he kept busy doing stage design, posters and book jackets. On occasion he paralleled the power of his earlier works, taking on the issues of Atomic weapons and the Vietnam war, but the days working for freedom during the Nazi period were his most brilliant and productive years. John Heartfield died in Berlin on April 26 1968.
1930 Whoever reads bourgeois newspapers becomes blind and deaf. Away with the stultifying bandages!
1932 Adolf, the Superman: Swallows gold and spouts rubbish.
This photomontage was published after Hitler's important speech to Rhineland Industrialists in Dusseldorf 1932, before he became Reich Chancellor in 1933.
1932 Do you want to fall again, so that shares rise?!
L’intérêt ne pense pas, il calcule. Les motifs sont ses chiffres. K. Marx, « Débats sur la loi relative au vol de bois » 1842.
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com_71 - Message(s) : 6015
- Inscription : 12 Oct 2002, 00:14
par com_71 » 01 Déc 2002, 12:30
1932 The meaning behind the Hitler salute: Little man asks for big gifts. Motto: Millions stand behind me!
1932 The meaning of Geneva. Where capital lives, peace cannot live!
In November 1932, at Geneva, site of the League of Nations, workers demonstrating against fascism were machine gunned down: 15 dead and 60 wounded. Heartfield re-released this poster in 1960, showing only the bayoneted dove and the words,"Niemals Wieder! (Never Again!)
1933 Instrument in God's hand? Toy in Thyssen's hand!
A prominent Nazi spokesman stated, "In the fulfillment of his task, the Fuhrer perceives himself as God's instrument." Heartfield mocks this by showing the puppet Hitler in the hands of Fritz Thyssen, a leading Industrialist and head of Germany's largest steel trust. Thyssen joined the Nazi Party in 1931.
1934 Fascism his final savior. War his final resort!
Il y en a d'autres mais, ça suffit pour aujoud'hui.
1932 The meaning of Geneva. Where capital lives, peace cannot live!
In November 1932, at Geneva, site of the League of Nations, workers demonstrating against fascism were machine gunned down: 15 dead and 60 wounded. Heartfield re-released this poster in 1960, showing only the bayoneted dove and the words,"Niemals Wieder! (Never Again!)
1933 Instrument in God's hand? Toy in Thyssen's hand!
A prominent Nazi spokesman stated, "In the fulfillment of his task, the Fuhrer perceives himself as God's instrument." Heartfield mocks this by showing the puppet Hitler in the hands of Fritz Thyssen, a leading Industrialist and head of Germany's largest steel trust. Thyssen joined the Nazi Party in 1931.
1934 Fascism his final savior. War his final resort!
Il y en a d'autres mais, ça suffit pour aujoud'hui.
L’intérêt ne pense pas, il calcule. Les motifs sont ses chiffres. K. Marx, « Débats sur la loi relative au vol de bois » 1842.
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com_71 - Message(s) : 6015
- Inscription : 12 Oct 2002, 00:14
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