Throughout history, ideals such as heroism and patriotism as well as concepts such as war and violence, have acquired different connotations. During the 19th century, they had a positive connotation. With the occurrence of revolutions war and violence was justified under the ideals of patriotism and heroism. During the 21st century, society began to was in the process of developing a more sophisticated view. The century was even more violent than the 19th century with conflicts such as the world wars and in particular the Vietnam War. Yet they were no longer were justified outright by ideals. America, for example, began to question its involvement in the Vietnam War for a number of reasons. Two artists, two centuries apart, attempted to capture the feelings of the society of their time period. Jacques-Louis David produced a neo-classical piece entitled Leonidas at Thermopylae that idealized war with heroic and patriotic themes. Leon Golub’s Vietnam II displays the more realistic horrors of war as well as reflects Americans’ growing disconnect from their role in the Vietnam War.
Jacques-Louis David was the most prominent and influential painter of the Neo-classical artistic movement in France. He completed Leonidas at Thermopylae in 1815. David wrote extensively about his intentions for the work in the anonymously published Explication (1814). He wrote that he wanted calm acceptance and contemplation to rule the piece.
The subject of David’s Leonidas at Thermopylae is Leonidas who was a king of Sparta. In 480 BC, Leonidas fought against the invading Persian Army of Xerxes at the pass at Thermopylae. Although, Leonidas and his 300 men were vastly outnumbered by the Persian army, the managed to defend the pa...
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...sent the viewpoint of their time period. In the 19th century ideals were absolute and justified ends such as war and violence. By the 21st century, society had become a little bit more discerning. Two artists reflected the viewpoints of their times in their artwork. David, the great neo-classist of the 19th century, used his painting Leonidas at Thermopylae to idealize the concepts of honor, bravery, and valor during war. While originally, it was not well received, the painting has withstood the test of time and has gained recognition in the contemporary era. In the 21st Leon Golub portrayed war and violence in his Vietnam II under a much different light. Gone were the representations of David’s ideals. Golub replaced them with victims and horrors of war. His work portrayed society’s increased sophistication in how it approached the ideals of 19th century.
The three narratives “Home Soil” by Irene Zabytko, “Song of Napalm” by Bruce Weigl, and “Dulce et Decorum Est” by Wilfred Owen all have the same feelings of war and memory, although not everyone experiences the same war. Zabytko, Weigl, and Owen used shifting beats, dramatic descriptions, and intense, painful images, to convince us that the horror of war far outweighs the devoted awareness of those who fantasize war and the memories that support it.
Jacques Louis David was a french painter and artist who primarily focused his work on Neoclassicism. During the late eighteenth and early nineteenth century, David's artwork flourished in France and became well known after a while. David used several different techniques and styles of art in his time, but he mastered a style of rigorous contours, sculpted forms in his paintings, and polished surfaces. He mainly painted in the service of royalty, radical revolutionaries, and an emperor. Even though his political allegiances shifted, he kept his art techniques faithful to the principles of Neoclassicism. Jacques Louis David intrigues the viewers attention by exaggerating the actions and movement of the people displayed
This art analysis will define the theme of the universality of 20th century modern warfare in the context of modern works of art by David Levinthal and Roger de la Fresnaye. David Levinthal’s “Untitled” (1972) is commentary on the mass killing of modern warfare in the 20th century, which killed many millions of men during Hitler’s invasion of Europe. Levinthal’s childhood imagery of tanks, soldiers, and homes visualize the mass killing of war as a “universal” concept in the depiction of the modern psyche. Roger de la Fresnaye’s “Artillery” (1911) is also a commentary on cubist imagery that projects a military
War is cruel. The Vietnam War, which lasted for 21 years from 1954 to 1975, was a horrific and tragic event in human history. The Second World War was as frightening and tragic even though it lasted for only 6 years from 1939 to 1945 comparing with the longer-lasting war in Vietnam. During both wars, thousands of millions of soldiers and civilians had been killed. Especially during the Second World War, numerous innocent people were sent into concentration camps, or some places as internment camps for no specific reasons told. Some of these people came out sound after the war, but others were never heard of again. After both wars, people that were alive experienced not only the physical damages, but also the psychic trauma by seeing the deaths and injuries of family members, friends or even just strangers. In the short story “A Marker on the Side of the Boat” by Bao Ninh about the Vietnam War, and the documentary film Barbed Wire and Mandolins directed by Nicola Zavaglia with a background of the Second World War, they both explore and convey the trauma of war. However, the short story “A Marker on the Side of the Boat” is more effective in conveying the trauma of war than the film Barbed Wire and Mandolins because of its well-developed plot with well-illustrated details, and its ability to raise emotional responses from its readers.
George Gittoes (b.1949) creates works that that communicate the issue of the graphic horror of war. A social realist painter, photographer and filmmaker, his approach to art is that ‘he layers and accumulates material until, out of apparent chaos, there is a synthesis of idea, passion and image’ (Mendelssohn, 2014). As an eyewitness to the world's war zones, Gittoes clearly uses his work as a means of communication to society.
In conclusion, while books, photos, movies and other historical documentation can portray information or a message about wartime events, they will never be able to produce the feelings of those that were personally involved in wars have experienced. Yet, it is incorrect to criticize these writers. The information they reveal is still very important historical information. Even if a reader or viewer of this media cannot feel exactly the same emotions as those involved, they still often experience an emotional connection to the events being depicted. This is important, not only for the historical knowledge gained about wars, but also to understand the nature and futility of their occurrence.
The older generation had an artificial illusion of what war is and although Paul's generation, the soldiers, loved their country, they were forced to distinguish reality from illusion. Because of this disti...
Many war pieces express a distinct sense of truth, hatred, and anger that can be found in the style, tone, and imagery they possess. Incredible images are created in ones mind as war writings are read and heard. Works written by such writers as Siegfried Sassoon, Wilfred Owen, and Tim OBrien really reach out to the audience by way of the authors choice of words and images that they use in their writing. These talented writers create very touching and heart-felt images as they write about the true occurrences, problems, feelings and emotions that soldiers encountered throughout times of war. It is by way of these writers words that the bloody truth of war is heard, rather than the glorified victories heard which overlook the pain that soldiers went through.
In the books All Quiet on the Western Front by Erich Maria Remarque and The Wars by Timothy Findley, there is clear evidence of the nature of war. With all the efforts of preparation, discipline, and anticipation, false hopes were created for the young individuals, who leave the battlefields with numerous emotional and physical scars. The propaganda and disciplinary training to convince naïve young men to go to battle to fight for their country, the death of their comrades, and the physical breakdown are all part of twentieth century warfare.
Hicks, Patrick. "War, Literature and the Arts." War, Literature and the Arts. An International Journal of the Humanitie, n.d. Web. 6 Dec. 2013. .
To this day the Vietnam War is still considered to be one of the most devastating wars in history and has been a topic of resentment to the American culture thirty-three years after its end. For the American public it’s marked as being the point in history where distrust in our government was at an all-time high, mainly because most of the war’s carnage was witnessed on television for the first time. For all the bloodshed American and Vietnamese soldiers suffered through, the war has left a perpetual mark not only on the United States but ultimately has left a permanent scar on the soldiers who fought and managed to survive the war. Renowned war poet, Bruce Weigl, like most young American men during the time was only nineteen when he participated in the war and fought for three years. The traumatic experiences he faced in the war and post-service back home in the United States helped him develop a distinctively emotional and explicit poetry which dealt bluntly with the atrocious images of Vietnam. When being interviewed by fellow poet and student of his, David Keplinger, Bruce openly states that, ““…it did not occur to me to write poems about the war for a long time. It was not exactly that it had not occurred to me, but I questioned why anyone would want to read about the war because it was already terrible enough” (Keplinger 141). With his time after the war, Weigl obtained his PhD. at the University of Utah and also made stops at Oberlin College and the University of New Hampshire prior to that. Weigl’s encounter with the war has enabled him to depict graphic illustrations of it and that effect seems to plod into the present. His work is highly saturated in the brutalities of Vietnam War and echoes that very sentiment.
In the film Red Dawn of 1984, it depicts both a work of art and propaganda for various of reasons. To start off, propaganda is used to imply a negative impact on both Russia and Russian troops. The way they are portrayed in the film, illustrates them as savages and corrupted people who are ruthless. In the film, the United States is portrayed as the victim because of the the strong brave soldiers, who are trying to survive and would fight any obstacle in their way. In fact, this film of Red Dawn can also be considered a work of art, because this film uniquely symbolizes the acceptance of thinking like a child. For example, in many scenes in the movie seeing the world from a children’s point of view was a way to help the soldiers forget about their present situation. In this case, the war battles between Russian troops. Most importantly, what I consider a work of art in this film, would be that a group of teenagers get together as a team to defend their country from Soviet invaders. In this essay I will explain different examples that prove that the film of 1984 Red Dawn can be considered both a work of art and a of propaganda.
The Battle of Thermopylae began in 480 BC and was a product of the Greeks attempt help defend the Ionians from the Persians. This irritated the Persian Emperor, Xerxes, because he thought of Greece as a small kingdom that had no place revolting against the Persian Empire. The Athenians sympathized with the Ionians because the Persians had also tried to invade Greece on multiple occasions. The Athenians provided feeble help to the Ionians and in retaliation the Persians struck at athens (23B). Xerxes was known to be irrational with his temper, and may have thought of his invasion as retaliation for the fact that his father, Darius the Great, was defeated at the Battle of Marathon against the Greeks. His temper was so great that at Hellas Point he had the water whipped because it would not obey him (E49). One of several Greek war leaders in the Battle of Thermopylae was Leonidas, the second born son of King Anaxandridas. It was not until his half brother was killed under controversial circumstances that Leonidas rose to power (G72). Apart from misconceptions spread by the popular film “300,” the three hundred Spartans did not go into battle alone, and were accompanied by over eight hundred allies. Nevertheless, the Persians still outnumbered the Greeks ten to one, which is why it is incredible that the Greeks were able to hold them for three days before eventually losing that specific battle. Despite losing the battle in terms of soldiers and defending greece, the battle of thermopylae was somewhat successful in that it was a demonstration of the courage of greek soldiers, impressive battle tactics,
encapsulates the futility and horror of war through the use of vivid war images like
War is a machine that extracts young men and women from reality. It twists their morals until they do not know what is right or wrong. This level of dehumanization and objectification is clearly argued in Ron Kovic’s Born on the Fourth of July: “He had never been anything but a thing to them, a thing to put a uniform on and train to kill, a young thing to run through the meat-grinder, a cheap small nothing thing to make mincemeat out of” (165). War is the “meat-grinder.” Soldiers only matter because they can kill. War tears apart the people fighting it. Coming out of the war Kovic does not know what to do. He is lost. This aimless feeling is similar to the experiences of Jake and the Gang in Ernest Hemingway’s The Sun Also Rises. The protagonist, Jake Barnes, and his entourage wander the streets of Paris and Madrid with no purpose. After war, the real w...