Art Appreciation DB 7

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Chapter 4.7 Art, War, and Revolution

PART 4

THEMES

Introduction

Art about war may: educate, inspire, or shock

Can be rich sources of historical information

Should be treated with caution: artists may manipulate scenes to promote a specific political point of view

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

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Chapter 4.7 Art, War, and Revolution

Artists choose the subjects of revolution or war for a variety of reasons: to educate us about the realities of conflict, to inspire us through the depiction of heroism, or to shock us into opposing violence.

Documenting the Tragedies of War

Artworks can document an event

Artworks can also distort facts or relay a bias

Even photographs and video can be manipulated to persuade the viewer toward a certain interpretation of an event

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.7 Art, War, and Revolution

It is important to assess the art of war with great care and attention as to the context in which the work was created.

Artwork: Timothy O’Sullivan, Harvest of Death […]

4.7.1 Timothy O’Sullivan, Harvest of Death, Gettysburg, Pennsylvania, July 1863. Photograph. Library of Congress, Washington, D.C.

Timothy O’Sullivan Harvest of Death […]

Field of casualties after Gettysburg, an important Civil War battle

Focus on the individual soldier highlights the human aspect

O’Sullivan sometimes staged scenes; we do not know if he arranged this one

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.7 Art, War, and Revolution

American Timothy O’Sullivan (1840–1882) took the famous Civil War photograph Harvest of Death after a day at Gettysburg

Removal of some clothes suggests theft

One often assumes that a photograph can be trusted as an accurate documentation of an event

O’Sullivan was known to rearrange bodies and otherwise alter the setting before taking his photos. We do not know if he arranged the corpses or their clothing in order to heighten the emotional impact of this powerful image.

If we knew he had staged the scene in some way, would we doubt the truth of the tragedy he represents?

Artwork: Nick Ut, Vietnamese Girl Kim Phuc Running […]

4.7.2 Nick Ut, Vietnamese Girl Kim Phuc Running after Napalm Attack, June 8, 1972. Photograph

Nick Ut, Vietnamese Girl Kim Phuc Running after Napalm Attack

Photograph depicts children fleeing after a napalm attack on their village

Made many Americans question US involvement in the Vietnam War

Ut’s disapproval of the war influenced the way he composed his image

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

THEMES

Chapter 4.7 Art, War, and Revolution

The photograph by the Vietnamese Nick Ut (b. 1951) of children running from their village in Vietnam after a napalm attack was so shocking that some, including the U.S. president Richard Nixon, questioned its authenticity when it appeared in newspapers on June 12, 1972

Because of the fame of the photograph, money poured in to save her

She underwent seventeen surgical operations and later emigrated to Canada

Nick Ut became “Uncle Nick” to the little girl and the two have remained in close contact throughout their lives

Although this photograph shows the suffering of a small group of people, it symbolizes for many the tragedy of the entire Vietnam War

Artwork: Otto Dix, The War

4.7.3 Otto Dix, The War, 1929–32. Oil and tempera on wood, central panel 80¼ × 80¼”, side panels 80¼ × 40⅛”, bottom panel (predella) 23⅝ × 80¼”. Staatliche Kunstsammlungen, Gemäldegalerie Neue Meister, Dresden, Germany

Otto Dix, The War

Otto Dix fought in World War I

Central panel: death, destruction

Left: soldiers prepared for battle

Right: self-portrait, wounded soldier

Predella: soldier lying in a trench, sleeping or dead

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

THEMES

Chapter 4.7 Art, War, and Revolution

German painter Otto Dix (1891–1969), who fought in World War I, recorded the horrors he witnessed in the painted triptych The War

Triptych, traditionally used for religious scenes, elevates his subject

Portal Artwork: Degenerate Art

4.8.7 Photograph of the Nazi-curated traveling exhibition “Degenerate Art” (“Enkartete Kunst”) at its first stop at the Hofgarten, Munich, Germany, 1937

Otto Dix, along with other German Expressionists, would later be vilified by the Nazis for his criticism of WWI

Warriors and Battle Scenes

Artists record the bravery of warriors, both their successes and defeats

Artworks can be valuable records of critical historical moments

Significance of certain battles

Accurate studies of weapons and uniforms

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

THEMES

Chapter 4.7 Art, War, and Revolution

Artwork: Palette of Narmer

4.7.4a (front) and 4.7.4b (back) Palette of Narmer, Early Dynastic Period, Egypt, c. 2950–2775 BCE. Green schist, 25¼ × 16⅝”. Egyptian Museum, Cairo, Egypt

Palette of Narmer

Shows unification of Upper and Lower Egypt by the first pharaoh, Narmer

Palettes were used to grind pigment that was painted around the eyes as sun protection

Hierarchical scale: Narmer is larger, indicating his importance

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

THEMES

Chapter 4.7 Art, War, and Revolution

One of the earliest surviving ancient Egyptian artworks

Before the reign of Narmer, Egypt was divided into Lower Egypt (in the more fertile south) and Upper Egypt (to the south)

The intertwining of the fantastical long-necked creatures in the third register embodies the unification of Upper and Lower Egypt

Artwork: Detail of the Battle of Hastings, Bayeux Tapestry

4.7.5 Detail of the Battle of Hastings, Bayeux Tapestry, c. 1066–82. Linen with wool, 275’ long. Bayeux Tapestry Museum,

Bayeux, France

Battle of Hastings, Bayeux Tapestry

275-foot-long embroidery

Records events surrounding the Battle of Hastings (1066)

Made by skilled women

Took more than 10 years to make

Embroidery process creates clearly delineated figures

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.7 Art, War, and Revolution

The Normans, led by William the Conqueror, seized control of England from the Anglo-Saxons

It was probably commissioned by William’s brother Odo, the Bishop of Bayeux in France, shortly after the Norman victory

More than six hundred men, but only three women, are shown in the fifty scenes on the tapestry

Each figure is given a border, which is filled in with stitches running in the opposite direction to the rest of the embroidery, and then outlined in boldly contrasting colors

This process creates a flat sense of space (to guide the viewer in a horizontal direction), and, through repeated patterns, a sense of overall rhythm

Artwork: Night Attack on the Sanjo Palace

4.7.6 Night Attack on the Sanjo Palace, from Heiji Monogatari, Kamakura period, late 13th century. Hand scroll, ink and color on paper, 16⅛” × 22’11¼” (whole scroll). Museum of Fine Arts, Boston, Massachusetts

Night Attack on the Sanjo Palace

23-foot-long scroll employs isometric perspective from a bird’s-eye view

Scene depicts the burning of the palace by samurai warriors; emperor captured by opposing clans

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.7 Art, War, and Revolution

In the short-lived Heiji era (1159–60) several clans fought for control of Kyoto, the historical capital of Japan

From the Tale of the Heiji Rebellion, a Japanese war epic presented in 5 painted scrolls

This scene shows the burning of the palace by samurai warriors of the Fujiwara and Minamoto clans during the raid in which they captured the emperor Nijo

Soon afterward, another clan, the Taira, rescued the emperor and regained control of Kyoto

The story in the scroll is read from right to left

The artist guides the viewer in that direction using the diagonal lines of the buildings, layering the figures, and the movement of the billowing smoke

Isometric perspective = a system using diagonal parallel lines to communicate depth

Bird’s-eye view = an artistic technique in which a scene or suject is presented from some point above it

Compare Bayeux Tapestry and Heiji Monogatari scroll

Multiple scenes meant to be viewed slowly, unravel over time

Long horizontal formats

Celebrate the victors

Representative of the visual style of each period

Detailed and delineated armor and weapons

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.7 Art, War, and Revolution

The Japanese samurai are shown with lengthy bows and arching swords

The soldiers of the Bayeux tapestry wear patterned armor and conical helmets, and carry broadswords, kite-shaped shields, and spears

Artwork: Tula warrior columns

4.7.7 Tula warrior columns, 900–1000 CE. Basalt, height 15–20’. Tula, Hidalgo, Mexico

Tula warrior columns

Toltec capital of Tula believed to have been largest city in Mexico in 1000 ce

Warrior columns held up the roof of a temple, which no longer survives

Figures show how a Toltec warrior would have looked

They lived in a time of warfare

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.7 Art, War, and Revolution

Little is known of the Toltec people of Mexico

What we know of the Toltec can be learnt from the legends of later cultures, such as the Aztecs, who often sought to demonstrate an ancestral link with the Toltec

The carved warriors stood high above the city, painted in bright colors

Artwork: Benin plaque with warrior and attendants

4.7.8 Benin plaque with

warrior and attendants,

16th–17th century. Brass,

height 18¾”. Metropolitan

Museum of Art, New York

Benin plaque with warrior and attendants

Obas (kings) of Benin were military and spiritual leaders

Commissioned brass artworks to reflect their power; covered the palace

Central figure is a high-ranking chief

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.7 Art, War, and Revolution

Benin was a West African state that was at its height between 1450 and 1700

Obas commissioned hundreds of artworks, including plaques, to cover the royal palace, many of which depict warriors who followed the orders of the oba

The chief is identified by the ceremonial sword he carries in his left hand, and his elaborate helmet. He is also shown in higher relief than the other figures

He wears a leopard-tooth necklace

Leopards, known for their power and speed, were a symbol of the oba

High relief = a carved panel where the figures project with a great deal of depth from the background

The Artist’s Response to War

Artists sometimes create artworks attempting to convey personal experience of war

Cathartic exercise, releasing emotion

Inspires awareness of the realities of war

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.7 Art, War, and Revolution

Artwork: Francisco Goya, The Third of May, 1808

4.7.9 Francisco Goya, The Third of May, 1808, 1814. Oil on canvas, 8’4⅜” × 11’3⅞”. Museo Nacional del Prado, Madrid, Spain

Goya, The Third of May, 1808

Documents Napoleon’s army killing Spanish citizens

Emphasis on one figure

Color

Light

Line

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.7 Art, War, and Revolution

The Spanish War of Independence (1808–14) was known for its guerrilla fighting and for the heroism of the civilian population

The Third of May, 1808 documents the French emperor Napoleon’s troops executing Spanish citizens during the French occupation of Madrid in 1808

The painting was commissioned in 1813 by the Spanish king Ferdinand VII to memorialize the event

Artwork: Pablo Picasso, Guernica

4.7.10 Pablo Picasso, Guernica, 1937. Oil on canvas, 11’5½” × 25’5¾”. Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain

Pablo Picasso, Guernica

Franco allowed bombs to be tested on Guernica, a town in Spain

1,000 civilians died in three hours

Picasso did not discuss the work, accepting multiple interpretations

Picasso and the painting would not return to Spain while Franco ruled

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.7 Art, War, and Revolution

The attack on Guernica was carried out on April 26, 1937

News of the attack quickly spread to Paris, where Picasso read stories and saw photographs of the devastation

The painting is black, gray, and white, perhaps because Picasso associated the attack with black-and-white newspaper photographs

Expressive faces with distorted necks scream and cry in despair

The bull, often associated with the violence of Spanish bullfighting, is seen by many as a symbol of Franco

Picasso exhibited this large protest statement at the Spanish Pavilion during the 1937 World’s Fair in Paris, France

Artwork: Anselm Kiefer, Breaking of the Vessels

4.7.11 Anselm Kiefer, Breaking of the Vessels, 1990. Lead, iron, glass, copper wire, charcoal, and Aquatec, 12’5” × 27’5½” × 17’. St. Louis Art Museum, Missouri

Anselm Kiefer, Breaking of the Vessels

Kiefer’s artworks force viewers to consider horrors of the Nazi regime

Conveys the loss of life and destruction of knowledge during the Holocaust

Shattered glass recalls Kristallnacht

References to Kabbalah, collection of Jewish mystical writings

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.7 Art, War, and Revolution

Contemporary German artist Anselm Kiefer (b. 1945) was born in Germany just months before World War II ended and grew up in a society ashamed of its past

His artworks force viewers to acknowledge the horrors of the Nazi regime that ruled Germany from 1933 until 1945

Imposing, 27-foot-tall artwork

Heavy lead books appear to be scorched, just like the human beings (also holders of knowledge) who were incinerated in concentration camps

Kristallnacht (Night of the Broken Glass) refers to the night when the Nazis destroyed hundreds of Jewish stores and synagogues in 1938

The words “Ain-Sof,” which mean the infinite presence of God, are written on the arched piece of glass above the bookshelf

Ten lead labels are placed around and on the bookshelf; these represent the ten vessels containing the essence of God as described in the Kabbalah

Artwork: Ganzeer, Tanks vs. Bike

4.7.12 Ganzeer, Tanks vs. Bike, with graffiti by Sad Panda, 2011. Cairo, Egypt

Ganzeer, Tanks vs. Bike

Egyptian artist, known for graffiti art criticizing ruling military officials

Tank points its gun at an Egyptian boy on a bike, balancing a tray of bread

Collaborative: other street artists have added to the image

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.7 Art, War, and Revolution

Egyptian artist Mohamad Fahmy, known as Ganzeer, became internationally famous for his graffiti art criticizing the Supreme Council of the Armed Forces (SCAF), a council of senior military officials that has ruled his country since the Egyptian Revolution in February 2011

Ganzeer was assisted by a team of volunteers to create the stencils for this work

Later, the artist known as Sad Panda added his trademark figure behind the biker

Another artist, Khaled, painted bodies being crushed under the tank

This recorded an actual event that took place in October 2011, when a group of peaceful civilians, protesting the demolition of a church, were attacked by security forces and the army

Graffiti and other street art has been a major form of protest throughout the uprisings against governments across the Middle East and North Africa, known as the Arab Spring

Artwork: Wafaa Bilal, Domestic Tension

4.7.13 Wafaa Bilal, Domestic Tension, 2007. Flatfile Gallery, Chicago, Illinois

Wafaa Bilal, Domestic Tension

Iraqi-born artist

Provocative works raise awareness about US–Iraq conflicts

Brother killed by an American bomb

Interactive performance: artist enclosed in gallery for one month; fired at by a paint gun controlled by anyone over the Internet

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Perspectives on Art:

PART 4

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Chapter 4.7 Art, War, and Revolution

Artist was inspired by a TV news segment about a soldier in Colorado remotely dropping bombs on Iraq

Highlighted the anonymous and detached nature of this current war, and the complete disconnect between the comfort zone here in the U.S. and the conflict zone in Iraq

Bilal wanted to create a physical impact in viewers by enabling them to identify with the physical effect on his body

The project generated worldwide attention, with more than 60,000 shots taken and 80 million hits to the website from 137 countries

Remembrance and Memorials

Art can acknowledge historical tragedies in the hope that events will not be repeated

Memorials may address the history of one or many

Designed to comfort and heal

Statements of tragedy, can fuel uprisings

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.7 Art, War, and Revolution

Artwork: Maya Lin, Vietnam Veterans Memorial

4.7.14a Maya Lin, Vietnam Veterans Memorial, Washington, D.C., 1981–83. Granite, each wing 246’ long, height 10’1” at highest point

4.7.14b Maya Lin, detail of the Vietnam Veterans Memorial: visitors interacting with the wall

Maya Lin, Vietnam Veterans Memorial

Polished black granite, V-shaped wall descends and ascends into the earth

Symbolizes a wound caused by the conflict, but also healing

Names carved in order of death date

Some veterans said design reflected a condemnation of the war

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.7 Art, War, and Revolution

The competition to design the monument—which drew more than 1,400 submissions—was won by a 21-year-old American of Chinese descent studying architecture at Yale University, Maya Lin (b. 1959)

The surface is polished because, the artist explained, “the point is to see yourself reflected in the names”

The walls are aligned toward two other monuments, the Washington Monument and the Lincoln Memorial, in order to acknowledge the significance of the Vietnam War to American history

Some veterans thought that rather than uplifting and instilling pride in the soldiers who fought, the monument’s descent into the ground symbolized a moral criticism both of the war and its soldiers

In response to these protests, a bronze sculpture of three soldiers, more traditional in style, was later placed a short distance from the wall

Memorial and Controversy: Maya Lin’s Vietnam Veterans Memorial

To find out more about Maya Lin’s response to the Vietnam war and her work’s impact on the public, watch:

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.7 Art, War, and Revolution

Video:

Artwork: Michael Arad and Peter Walker, 9/11 Memorial

4.7.15a Michael Arad and Peter Walker, 9/11 Memorial, New York. Photo taken 28 July 2011

4.7.15b Michael Arad and Peter Walker, National September 11 Memorial & Museum, New York

Michael Arad and Peter Walker, 9/11 Memorial

Dedicated 10 years after the 9/11 attacks

Square footprints of the fallen towers are now filled with waterfalls that represent the huge loss of life (2,977 people)

Includes the 9/11 Memorial Museum

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

THEMES

Chapter 4.7 Art, War, and Revolution

Someare still buried under the site, making it sacred ground in the minds of some. Critics say that because of this, it is therefore inappropriate as a site for a gift shop, admission prices, or gawkers

The edges of the squares are covered with bronze plaques inscribed with the names of the 2,977 who were killed, including those on the hijacked flights on 9/11, those at the Pentagon, and the rescuers who tried to help people escape, as well as victims of the World Trade Center bombing in 1993

Portal Artwork: Here is New York

2.8.17 Here Is New York: A Democracy of Photographs, exhibition at the New York Historical Society, September 2007

Here is New York... is an installation of photographs taken by people who recorded what they saw on 9/11

Chapter 4.7 Copyright Information

This concludes the PowerPoint slide set for Chapter 4.7

Gateways to Art: Understanding the Visual Arts

Third Edition

By Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PowerPoints developed by CreativeMyndz Multimedia Studios

PART 4

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Chapter 4.7 Art, War, and Revolution

Picture Credits for Chapter 4.7

4.7.1 Library of Congress, Washington, D.C. Prints & Photographs Division, LC-B8184-7964-A

4.7.2 Nick Ut/AP/Press Association Images

4.7.4a Egyptian Museum, Cairo

4.7.4b Egyptian Museum, Cairo

4.7.5 Centre Guillaume le Conquérant, Bayeux

4.7.6 Museum of Fine Arts, Boston, Fenollosa-Weld Collection

4.7.7 Photograph Luidger

4.7.8 Metropolitan Museum of Art, New York, Gift of Mr. and Mrs. Klaus G. Perls, 1990, 1990.332

4.7.9 Museo Nacional del Prado, Madrid

4.7.12 Courtesy the artists. Photo JoAnne Pollonais

4.7.13 Courtesy the artist

4.7.14a Stock Connection/SuperStock RM/Diomedia

4.7.14b Zuma Press/ Diomedia

4.7.15a Drew Angerer/Getty Images

4.7.15b Angelo Hornak/Alamy Stock Photo

PowerPoints developed by CreativeMyndz Multimedia Studios

PART 4

THEMES

Chapter 4.7 Art, War, and Revolution