“The painter paints his pictures with paint, and I do it with photographs.”- John Heartfield, 1967
John Heartfield was born as Helmut Herzfelde in Berlin on June 19, 1891. Heartfield parent’s abandoned him and his siblings and they spent their childhood with other relatives. He worked at a bookstore in Wiesbaden before going to school in Munich. Heartfield had a passion for painting so he went to school at the Royal Bavarian Art and Crafts School in Munich. He had a chance to learn from two commercial graphic designers Albert Neisgerber and Ludwig Hohlwein. After graduating from the Royal Bavarian Art and Crafts School in Munich he gained a lot of experience. Heartfield decided to have his own career as a commercial artist, starting off with designing book covers in Mannheim. Heartfield was still active in a school; he did most of his studying with artist Ernst Neumann in Berlin.
Helmut Herzfelde changed his name to John Heartfield because of his proactive attitude and his objection to Germany‘s offensive war slogan that says “May God Punish England.” By this time, Heartfield was still living in Germany and did not want to be a part of their antics against England. World War I was continuing on strong and violent in 1914, and Heartfield was drafted in to the war. Heartfield was never accustomed to violence so, because he was afraid to fight he pretended that he was insane just so they would released him from his duties to the military. His crazy act worked and he was released from the German military. Heartsfield experience in the war led him to think about the role that societal realism plays in art or art forms. His name change and false plead of insanity was only some of his many anti-German acts against the German governmen...
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...field was one of the greatest photomontage artists known. He had created a lot of work that was giving a powerful effect on others. He work exclusively with dada movement and gained much success with that. My favorite piece he created was the hand has five fingers I didn’t really mention but I like this art work that he had made. The metal band called system of a down used his work as their album cover. On the back of the cover they had a written quote that said “The hand has five fingers, capable and powerful, with the ability to destroy as well as create" (System of a down). I like how heartfield design such magnificent work that others can elaborate on it and use it as a piece of work related to them. He has influenced so many other artists. He also impacted me to do better so that I can send out powerful messages through my work now and in the future.
Upon returning to his studio Storrier picks a photograph that can be associated in a variety of ways. He makes works similar in subject matter, but which give different overall impressions. 'I never work from photographic documents. The little polaroids are just mental records. I paint pictures about, not from, photographs.' He explores the concept, and makes preliminary sketches and small studies of his ideas to decide the colour and tone. He chooses the size to make his artwork oncer he has his idea.
In the history of modern western civilization, there have been few incidents of war, famine, and other calamities that severely affected the modern European society. The First World War was one such incident which served as a reflection of modern European society in its industrial age, altering mankind’s perception of war into catastrophic levels of carnage and violence. As a transition to modern warfare, the experiences of the Great War were entirely new and unfamiliar. In this anomalous environment, a range of first hand accounts have emerged, detailing the events and experiences of the authors. For instance, both the works of Ernst Junger and Erich Maria Remarque emphasize the frightening and inhumane nature of war to some degree – more explicit in Jünger’s than in Remarque’s – but the sense of glorification, heroism, and nationalism in Jünger’s The Storm of Steel is absent in Remarque’s All Quiet on the Western Front. Instead, they are replaced by psychological damage caused by the war – the internalization of loss and pain, coupled with a sense of helplessness and disconnectedness with the past and the future. As such, the accounts of Jünger and Remarque reveal the similar experiences of extreme violence and danger of World War I shared by soldiers but draw from their experiences differing ideologies and perception of war.
Having such an image before our eyes, often we fail to recognize the message it is trying to display from a certain point of view. Through Clark’s statement, it is evident that a photograph holds a graphic message, which mirrors the representation of our way of thinking with the world sights, which therefore engages other
Carle had a happy childhood in America. However, he moved to Germany with his parents when he was six years old and attended the prestigious art school Akademie der Bildenden Künste. In 1952 he moved back to New York to return to the happy place where he grew up. He was then recruited as a graphic designer by The New York Times before he was enrolled as a mail clerk in the Korean War. Once he returned, he worked as the art director for an advertising agency (“Eric Carle”).
"An Artists's Life." Litzmann, Berthold. An Artist's Life. New York: Da Capo Press, 1979. 532. Book.
“Children took the ruins of the 20th century and made art out of it” (Skip Angblom) .
Storm of Steel provides a memoir of the savagery and periods of beauty that Ernst Jünger’s experienced while serving the German army during the First World War. Though the account does not take a clear stand, it lacks any embedded emotional effects or horrors of the Great War that left so few soldiers who survived unaffected. Jünger is very straightforward and does remorse over any of his recollections. The darkness of the hallucinations Jünger reports to have experienced provides subtle anti-war sentiment. However, in light of the descriptive adventures he sought during the brief moments of peace, the darkness seems to be rationalized as a sacrifice any soldier would make for duty and honor in a vain attempt for his nation’s victory. The overall lack of darkness and Jünger’s nonchalance about the brutality of war is enough to conclude that the account in Storm of Steel should be interpreted as a “pro” war novel; however, it should not be interpreted as “pro” violence or death.
While he was working as a minister in a very poor mining district, he discovered his passion for art. Whenever he found himself feeling disheartened, he would find hope in drawing and painting the miners (Mühlberger ...
John Mahtesian's photography offers a visual poetry of the human condition. It is a direct expression of his warmth, depth of spirit, and humanity. A true gentleman, extremely humble and unfailingly polite, he achieves an invisibility that is the success of his art. His patience and commitment to his vision allow him to capture moments others could not. If his subjects are aware of his presence, his gentle nature so enchants them that they are unguarded and their essence is revealed. So compelling are his images that we are truly convinced his insights are our own. They make us rejoice in the world around us, and in the nature of human existence.
The essence of art is truly in the eye of the beholder, and Joseph Beuys redefined the meaning of artistry when he once said that “every man is a plastic artist who must determine things for himself.” One may find himself or herself asking the million dollar question: “Who is Joseph Beuys?” Joseph Beuys was a German-born conceptual artist who started to pursue art as a career after serving as an airman in the Second World War. Beuys's assorted body of work ranges from the conventional methods of drawing, painting, and sculpture, to process-oriented, or time-based "action" art. With his time-based “actions”, Beuys suggested how art might exercise a healing property on both the artist and the audience when psychological, social, and political are the influence.
“The aim of art is to represent not the outward appearance of things, but their inward significance,” –Aristotle
"A photograph is not merely a substitute for a glance. It is a sharpened vision. It is the revelation of new and important facts." ("Heilbrunn Timeline of Art History."). Sid Grossman, a Photo League photographer expressed this sentiment, summarizing the role photography had on America in the 1940’s and 50’s. During this era, photojournalism climaxed, causing photographers to join the bandwagon or react against it. The question of whether photography can be art was settled a long time ago. Most major museums now have photography departments, and the photographs procure pretty hefty prices. The question of whether photojournalism or documentary photography can be art is now the question at hand. Art collectors are constantly looking to be surprised; today they are excited by images first seen in last week’s newspapers as photojournalism revels in the new status as art “du jour” or “reportage art”.
Steven Winn. "PAINTING A PICTURE OF THE CREATIVE MIND / It's in this delicate negotiation of conscious choices and unconscious summons that art finds its form and communicative power :[FINAL Edition]. " San Francisco Chronicle 28 May 2007, ProQuest Newsstand, ProQuest. Web. 15 Feb. 2011.
"Photographing a cake can be art," Irving Penn said when he opened his studio in 1953. Before long he was backing up his statement with a series of advertising illustrations that created a new high standard in the field and established a reputation that has kept him in the top bracket ever since.
From the creation of art to its modern understanding, artists have strived to perform and perfect a photo realistic painting with the use of complex lines, blend of colors, and captivating subjects. This is not the case anymore due to the invention of the camera in 1827, since it will always be the ultimate form of realism. Due to this, artists had the opportunities to branch away from the classical formation of realism, and venture into new forms such as what is known today as modern art. In the examination of two well known artists, Pablo Picasso and Jackson Pollock, we can see that the artist doesn’t only intend for the painting to be just a painting, but more of a form of telling a scene through challenging thoughts, and expressing of the artists emotion in their creation.