Search results
Results from the WOW.Com Content Network
One exhibition displayed art that should be eliminated (“The Degenerate Art Exhibition”), while the other promoted, by contrast, the official aesthetic (“The Great German Art Exhibition”). In Europe, other totalitarian regimes adopted a similar stance on art and encouraged or imposed an official aesthetic, which was a form of Realism ...
Working with the British Government and the Armed Forces, traditionally the Official War Artists' schemes have been overseen by artists (including Muirhead Bone) and art historians (including Kenneth Clark and curators from the Imperial War Museums). Yet so too have the British Armed Forces discretely appointed their own war artists to ...
Picasso. In the heart of darkness (1939–1945) was an exhibition presented October 5, 2019 through January 5, 2020, at the Musee de Grenoble.Presented with the help of the Musée Picasso, the Centre Pompidou, and the Kunstsammlung Nordrhein-Westfalen, it was the first exhibition in France featuring the creative process of Pablo Picasso during the Second World War.
Spring in the Trenches, Ridge Wood, 1917 by Paul Nash.Nash was a war artist in both World War I and World War II. A war artist is an artist either commissioned by a government or publication, or self-motivated, to document first-hand experience of war in any form of illustrative or depictive record.
For example, Hong Kong martial arts films have used the "cartoon villain" portrayal of Japanese soldiers or generals being defeated by the Chinese lead character in an attempt to stop the Japanese from using biological weapons or stealing Chinese treasures (films like Fist of Fury, Millionaire's Express and Fist of Legend).
Any art that was modern or abstract was considered degenerate. [7] In addition to showcasing this art and labeling it as degenerate art, the Nazi party also provided explanations to the art viewers as to why the art was a lesser form of art. [7] In the 1937 speech, Adolf Hitler mentioned many types of art that the Reich was opposed to.
The CWR produced two kinds of art: field sketches and finished paintings. The War Artists' Committee (WAC) recommended that the artists should attempt to share in the experience of "active operations" in order to "know and understand the action, the circumstances, the environment, and the participants."
Art, Ideology, and Economics in Nazi Germany: The Reich Chambers of Music, Theater, and the Visual Arts. Chapel Hill: The University of North Carolina Press. ISBN 0-8078-4607-4; Thoms, Robert: The Artists in the Great German Art Exhibition Munich 1937–1944, Volume I – painting and printing. Berlin 2010, ISBN 978-3-937294-01-8.