Egon Schiele's Portrait Of Wally Essay

Klein´s art emerged from serious circumstances. France in the late 1940s was still nation traumatized by World War II. The cultural center of gravity had moved across the Atlantic to New York. The artists who remained in Paris, or at least the good ones, were producing post-apocalyptic work, and out of the same rubble came the much younger Klein.

The Rape of Europa is a documentary that highlights the effects that World War II had on the art of Europe. Through the turmoil of the war, there are some glimpses of the human race exhibiting greatness, such as the story of the American monuments men preserving art. The art of Europe during the war played a key role in many aspects of the war, including Hitler’s attempt to eliminate what he considered “degenerate art”. Art defines the cultures they come from, and their destruction is a deep personal wound to their culture and humanity in general.

Very few works of art taken by Hitler have been found, and many that are discovered reside in museums. Some have been discovered in museums or galleries in Austria, while thousands still remain lost. Recently, “a long-lost Monet and other art treasures stolen from Jews during the Holocaust have been discovered in the home of an 81-year-old German art collector,” Julian states (Julian). Cornelius Gurlitt, the art

Anselm Kiefer was a German artist who was born directly after World War II. The art that Kiefer created focused on a reconciliation with the shame and horror surrounding the holocaust, aimed aimed to redefine what it meant to be German in a “post-Nazi World (Smith).” The piece I studied is located at the MoMa in San Francisco and is entitled “Shulamite”. “Shulamite” is a historical painting of a Nazi Memorial Site, which Kiefer created it in 1983. In this painting, Kiefer transformed the architecture of a site which was meant to honor Nazi heroes into a memorial for their victims. Kiefer uses some very interesting aesthetic techniques to reflect the intense emotions of that time and to reflect the rage, grief, and shame that Germans felt in response to the Holocaust. His intention was to reconcile with the country’s dark past through memorializing the persecuted while painting the country as no longer representative of it’s dark past.

His frustration is visible in the expression on his face. He appears tired of her bothering him about it, hence the hand. The child is showing a lot of white which can represent faith, I think the artist did this to say that the baby is giving the family faith because they are trying to provide for their child and in order to do that they need to be able to put food on the table which won’t just only help the baby but them as a whole. The woman may also symbolize strength that’s why the artist made her dress and lipstick red; she’s fiery. She may help the husband maintain his sanity no matter how many problems they are going through as a family.

There is an ongoing art-ownership debate over paintings and other art stolen from European Jews during the Holocaust of World War II (1939-45). As Jews were sent to concentration camps, Nazi German soldiers looted valuable art from their homes. During the ensuing decades, some of that art landed in major museums on display, prompting Holocaust survivors and the families of Holocaust victims to ask that those works be returned to them.

"Holocaust Restitution: Recovering Stolen Art." Jewish Virtual Library. American-Israeli Cooperative Enterprise, Mar. 2017. Web. 19 Mar. 2017.

None of the attention is what Spiegelman wants and he displays this with himself drawing on top of the dead Holocaust victims (Spiegelman II, 41). The past will always be a part of Art and there is nothing else he can do but accept the fact the Holocaust happened and learn to control his depression. According to McGlothlin, the Holocaust’s past and present coexist in Artie (McGlothlin187). Spiegelman spent his whole life trying to be happy and trying to find his place in the world. Unfortunately for Spiegelman, his past and present continue to mix in a never ending cycle, and he lives with the trauma the Holocaust caused, even though he was born twenty plus years after it

The Nazis would systematically censor modern art and decide “what art is decent or indecent, uplifting or ‘degenerate’” (Goggin 84) in order to wipe out all threatening ideas and strengthen the Nazi ideal, and Dix’s works were considered the latter. As a form of artistic control, the Nazis publically criticized modern artists as well as banning their works from museums and public displays. The art that was considered to be degenerate were labelled so because they didn’t fit into the Nazis’ criteria of representing solely the good, the positive and the healthy in society. In his art in his war portfolio, Dix portrayed the exact opposite. He painted and drew only death, disease, disaster and decay (Goggin 84-89). Hitler and his party deemed Dix’s works as degenerate because they were considered to be antimilitary and threatening to the Germans, the Nazi regime, and all of Hitler’s plans and beliefs he tried to instil in the German people. As a result of his so-called crimes, many of his paintings were burned and he was forced to join the German army and fight alongside those whose malpractice he wished to expose

The legacy the Second World War is often inundated in a series of disparagements, condemnations, and outright disgust against the perpetrators of the industrial scale mass-murder that was the Holocaust. This provides both positive and negative outcomes for those who seek to study the Holocaust and understand it from all angles. The demonization of key Nazi luminaries like Hitler and Himmler are highly appropriate given their ruthless and inhumane actions against European Jewry, ethnic minorities, their own German citizenry, and an international global standard of morality. Their reputations for inhumanity are well–deserved. Nonetheless,

The most prevalent perpetrators in public memory of the Holocaust are the SS guards and Hitler. Though, this essay showcases “the larger number of desk-based perpetrators” (Pearce, p. 234, 2011). The acknowledgment of these administrative perpetrators are not common in the public spectrum because they have not directly harmed prisoners in concentration camps. This photoessay is trying to combat this common public memory of Hitler and SS guards being the only/primary perpetrators by showcasing the administrative perpetrators and other perpetrators in the concentration camps (i.e. doctors, nurses, businesses,

Art history: a useless pondering over sketches that have little significance to life, at least this is the notion held by many. Delving into art history is a slippery slope that requires more than any one person knows. James F. Cooper and Alan Wallach explore the considerations art historians go through to decipher the relevancy of artworks. However, James F. Cooper’s arguments retro and one-track minded, while Alan Wallach’s arguments on which artworks to pick apart, the methods to attack them, and the reasons people spend so long analyzing a piece of paper are far more relevant to today’s emerging standards.

The images that were produced showed them as heroic figures, and in general they had a way of making ads play on the dissatisfaction of the status quo. It is what we would consider Niche Marketing today. So in most cases the art showed women working in the house or farmers and workers. Another large oddity was the use of the word “freedom.” Nazi’s really had no association to the word and yet it was used often.

In 1965, Jerzy Kosinski wrote his controversial novel “The Painted Bird”, which tells the story of a young six year old unnamed boy’s journey to survive during the violence and horrors of World War II. Kosinski shows readers how war can change people, as well as how barbaric human beings can act during wartime. During this time the Nazi sentiment was spreading like wildfire throughout central Europe. Hitler took great measures to ensure that Nazi’s remained in control by using cruelty and violence in creating fear and terror. Those living in Europe were far too scared to go against the Nazis’. The Jewish were not the only enemies of the Germans “Gypsies followed close behind... having no place in Adolf Hitler’s ideal of a racially pure

As Nazi’s army occupies cities and countries all over the Europe, Paris was inevitably erupted and ruined by the pervasion of Fascism. Many influential European avant-garde artists such as Duchamp and Matisse either immigrated or traveled to the United States of America in order to take a break from the European social disorders. Paris was no longer the symbol represents freedom and liberty, so the artists were actively seeking a new location to express their thoughts and to create contemporary artworks without any constraints. These artists and their works were officially exhibited in the Armory Show. The exhibition introduced American with Impressionism, Fauvism, Cubism, and Dadaism, which opens the possibilities of the American Modernity.