Prama Neeraja 14F122 Final Paper Art and Artist - Identity in times of Conflict? One of the most crucial question any artist faces is defining his identity identity with respect to his art. There are many schools of thought that argue that art has its own identity, its appreciation or criticism has very little relevance to the artist or the context in which it was created, rather it is with its theoretical aspects - subject, form, color and process of its creation. Not denying the significance of the theoretical aspects of the paintings, it has been observed, more often than not, the identity of the artist and context has held, if not more, an equal amount of significance with respect to the art. Evaluating entire history will perhaps …show more content…
Leni Reifenstahl’s brilliant piece of film, Triumph of the will, considered a successful propaganda of the neoclassicism and Reich Chancellery is a great example to context of this paper.8 This movie has been criticised inspite of the use of spectacular filmmaking as a advocacy of a profound unethical system. In Germany, this movie is classified as Nazi promotion and is restricted to be watched only under post-war denazification laws, unless used under educational context. But Riefenstahl later claimed that she was naïve about the Nazis when she made it and had no knowledge of Hitler's genocidal or anti-semitic policies. She also pointed out that Triumph of the Will contains "not one single anti-semitic word", although it does contain a veiled comment by Julius Streicher, the notorious Jew-baiter (who was hanged after the Nuremberg trials), that "a people that does not protect its racial purity will perish." Inspite of artist coming clean about her political agenda, her claim to declassify the movie as propaganda and plea for its consumption as art has been met with deaf ears. Her work of art is just not objected because of content, it might be the case to an extent, but her political inclination at the time and perception of the larger audience when it was released make a strong case for banning this movie in
Leni Riefenstahl, a dazzling individual that has lived through and experienced many things that no other person may have. She has lived through the World War One, Great Depression, Nazi Germany, World War Two, the Cold war and September 11. However, what fascinates historians and people all over was her involvement and relationship with Hitler and the Nazis party. This report will look over Leni’s early to role as director of her Infamous films Triumph of the Will and Olympia and her involvement and view of Nazism and Hitler.
Many of these artists' works contain subtle hints to the author's opinion on the subject. By analyzing their central compositional effects, the viewer can obtain a greater appreciation and understanding for the art.
I found The Raising of Lazarus and Annunciation to be interesting pieces on their own as well as to be compared. At face value, these paintings do not appear to contain many contrasting features. However, by examining these paintings closely, one can conclude that paintings with similar themes, mediums, and time periods can still differ in countless ways. Light, medium, subject, color, space, and viewpoint are just a few of the characteristics that can be considered when analyzing Wtewael and Caliari’s works. It is imperative that observers of art take a deeper look into the different features of artwork in attempt to uncover the intentions of the artist.
According to Welch, “The public’s reaction to anti-Semitic films reveals that propaganda had considerable success in persuading the population that a Jewish ‘problem’ existed, but equally that there was a limit to their tolerance of the type of virulently anti-Semitic propaganda to be found in films like Der Ewige Jude and publications like Der Stuermer.” Even after years of Nazi propaganda, even Goebbels wasn’t convinced that “such propaganda had persuaded Germans to condone open violence against
The Treaty of Versailles, which ended World War I, affected Germany terribly. Pauley says that, “Virtually all Germans were equally convinced that it was an instrument to suppress, exploit, and permanently humiliate Germany” (37). The Treaty exclusively blamed Germany for the outbreak of World War I, forced massive reparations on the German economy, shrunk the German army, took away German colonies and returned Alsace-Lorraine to France, and did not allow Austria to merge with Germany through self-determination (Geary 14). The Weimar Republic, which only recently took over the German government, was blamed signing the Treaty. The German citizens were extremely enraged by the terms of the Treaty mainly because they were unaware of how poorly the war was going; German propaganda told them that Germany was winning on the
“Der exige Jude”: Quellenkritische Analyse eines antisemititschen Propagandaf ilms, Institute Fur Wissenschaftlichen Film, Gottingen, 1995,p.134
World War II, the war for survival, shaped the history and landscape of the twentieth century permanently. As such, many wrote about the troubles and trials they had faced due to this war and in particular the actions of Germany. Excerpts taken from Sebastian Haffner, Christabel Bielenberg, and Leni Riefenstahl all help us understand the effect Germany had on it’s citizens, as well as foreign powers. While Haffner and Bielenberg denounce the Nazis, Riefenstahl writes in favor of them, thus demonstrating the discord in the nation at the time.
different works of art influence one another. The article helps us see how all art is connected,
The Nazi propaganda film, Triumph of the Will, is an excellent propaganda film that has many images that are meant to inspire, encourage, and invigorate the German people to be reborn. The film was made in 1934 during the rise of Adolf Hitler as the fuhrer of Nazi Germany. Hitler rose from the rank of a corporal in the German army to an inmate in a German jail. Hitler, once released, used fascist propaganda to promote the Nazi party. The propaganda promised to restore Germany as an economic leader in Europe while improving the lives of the German citizen. This pretense of a better life for German people won Hitler the dictatorship of Germany. Triumph of the Will is a good example of how propaganda entices the masses into
images in this painting, all of which have the power to symbolize to us, the viewer, of the painter’s
Imagine you can own one of the famous painting in the world. Which one would it be? What will you do with it? If I got to own a famous painting, I would hang it in my bedroom and I’ll show it to my family. In this situation, If needed to narrow it down it will be The Persistence of Memory by Salvador Dali or Nighthawks by Edward Hopper. These paintings are extremely different, and their artistic movement is opposite from one another. By the end of this essay, you’re going to know the differences and similarities of these paintings.
The article Artists Mythologies and Media Genius, Madness and Art History (1980) by Griselda Pollock is a forty page essay where Pollock (1980), argues and explains her views on the crucial question, "how art history works" (Pollock, 1980, p.57). She emphasizes that there should be changes to the practice of art history and uses Van Gogh as a major example in her study. Her thesis is to prove that the meaning behind artworks should not be restricted only to the artist who creates it, but also to realize what kind of economical, financial, social situation the artist may have been in to influence the subject that is used. (Pollock, 1980, pg. 57) She explains her views through this thesis and further develops this idea by engaging in scholarly debates with art historians and researcher, and objecting to how they claim there is a general state of how art is read. She structures her paragraphs in ways that allows her to present different kinds of evidences from a variety sources while using a formal yet persuasive tone of voice to get her point across to the reader.
In order to familiarise myself with the above topic, I have invested much time reading vast selection of the portraiture art themes with aim to get acquainted with the knowledge and the language used in this particular subject. It was very challenging and entertaining to read comprehensive range of various critiques and analysis of the world best paintings stretching from ancient classic to contemporary western image. Developing understanding of the diverse art expressions and social and political influences tha...
Georges Didi-Huberman is critical of the conventional approaches towards the study of art history. Didi-Huberman takes the view that art history is grounded in the primacy of knowledge, particularly in the vein of Kant, or what he calls a ‘spontaneous philosophy’. While art historians claim to be looking at images across the sweep of time, what they actually do might be described as a sort of forensics process, one in which they analyze, decode and deconstruct works of art in attempt to better understand the artist and purpose or expression. This paper will examine Didi-Huberman’s key claims in his book Confronting Images and apply his methodology to a still life painting by Juan Sánchez Cotán.
In “Britons: Forging the Nation 1707-1837,” Linda Colley argues about how the nation of Britain was formed significantly during this time period and the idea of Britishness—what it is and how it was formed during this time. By exploring the level of patriotism, and the post-war questions about Britishness (Irish Catholic emancipation, Parliamentary reform, and the abolition of slavery), the forging of the nation and the invention (and development) of Britishness are constructed and identified as the result of the succession of wars fought with France during this time. Linda begins by trying to connect British nationalism and Britishness by highlighting that these two things were considered “so central during this 130-year long period was a succession of wars between Britain and France” (Colley 1). She supports this claim by providing dates and dates of wars fought between the two, and how their relationship was in such conflict that it was brought to a breaking point, close if not otherwise, a cold war (Colley 1-3). Linda lays out that this sense of patriotism was a way for the people to lead Britain “in a direction that would benefit them.