European University Institute Library

John Heartfield and the agitated image, photography, persuasion, and the rise of avant-garde photomontage, Andrés Mario Zervigón

eng

Includes bibliographical references (pages 281-295) and index

individual biography

illustrations

index present

non fiction

John Heartfield and the agitated image

bibliography

754518530

Andrés Mario Zervigón

photography, persuasion, and the rise of avant-garde photomontage

Working in Germany between the two world wars, John Heartfield (born Helmut Herzfeld, 1891-1968) developed an innovative method of appropriating and reusing photographs to powerful political effect. As a pioneer of modern photomontage, he sliced up mass media photos with his iconic scissors and then reassembled the fragments into compositions that utterly transformed the meaning of the originals. In John Heartfield and the Agitated Image, Andrés Mario Zervigón explores this crucial period in the life and work of a brilliant, radical artist whose desire to disclose the truth obscured by the mainstream press and imperial propaganda made him a de facto prosecutor of Germany's visual culture. Zervigón charts the evolution of Heartfield's photomontage from an act of antiwar resistance into a formalized and widely disseminated political art in the Weimar Republic. Appearing on everything from campaign posters to book covers, the photomonteur's notorious pictures challenged well-worn assumption and correspondingly walked a dangerous tightrope over the political, social, and cultural cauldron that was interwar Germany. Zervigón explains how Heartfield's engagement with montage arose from a broadly-shared dissatisfaction with photography's capacity to represent the modern world. The result was likely the most important combination of avant-garde art and politics in the twentieth century. A rare look at Heartfield's early and middle years as an artist and designer, this book provides a new understanding of photography's role at this critical juncture in history.--, Provided by Publisher

Acknowledgments Introduction One The Photograph and the Punch: 1891-1914 Two Postcards to the Front and the Road toward Photomontage: 1915-1916 Three Heartfield the Performance: 1914-1917 Four A Political Struwwelpeter? John Heartfield's Early Film Animation and the Wartime Crisis of Photographic Representation: 1917-1918 Five A Spectacular Reflection: Heartfield's Return to Photomontage and Berlin's Postwar Dada Movement: 1918-1920 Six From the Shop Window to the Book Cover: 1920-1929 Epilogue The Artist of German Communism: 1926-1933 Bibliography Index