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The Politics of Art Throughout History

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The Politics of Art Throughout History

The Politics of Art Throughout History
John A Kenny

I have read and understand the Strayer University Academic Integrity Policy listed in the Syllabus II of our classroom. In submitting this assignment, I assert that I acknowledged all sources, whether quoted or summarized, in APA citation style. I did not receive unauthorized assistance. I understand that violations of the Academic Integrity Policy will lead to disciplinary action against me, up to and including suspension or expulsion from the University. I understand that all students play a role in preserving the academic integrity of the University and have an obligation to report violations of the Academic Integrity Policy committed by other students.

Name: _John A. Kenny______ Date: __Nov, 13, 2009________

Abstract
A brief explanation of how art has carried political messages throughout history.

The Politics of Art Throughout History

Why All Art is Political
When people begin to discuss the idea of the convergence of art and politics, many times the focus of the discussion gravitates toward images of propaganda art such as Rosy the Riveter, or Hitler Youth posters. While these are certainly two very obvious examples of art created purely for political reasons, I submit that all art makes some sort of political statement. The political message that is portrayed in artwork is typically influenced by a few major factors, the issues and ideas that are important to the general public at that time, the ideas and issues of the artist himself, and the ideas and issues that are important to the person, or group, that pays for the artwork when it is commissioned.
What is Political Art?
When viewing art from a political standpoint, it can generally be categorized into one or more of four categories, Sociopolitical Art, Propaganda, Protest, and Satire. Sociopolitical Art is typically used as teaching tool or learning aid, to reinforce societal ideas. This form of art was most heavily used prior to the Renaissance, due to the low literacy rate of the general public. Propaganda art usually supports some cause or agenda, and sometimes acts a coercive tool to get people to support that cause. More often than not the cause or agenda portrayed in Propaganda art is driven by a government or political power figure. Protest art is some ways is almost anti-Propaganda art, in that it is usually a response by the general public to some form of government action that the artist views as tyrannical. Protest art usually, but not always portrays some sort of message of freedom, and liberty. Satire uses humor to make a point. Many times some form is dichotomy surrounding a subject is illustrated to highlight some point other point about the subject. Absurdities are also used for the same purpose, caricatures and cartoons are good examples of this concept. “Artists do not create in a vacuum, they are indisputably coupled to the society and times in which they work. It may well be that an artist can realize aesthetic triumphs while ignoring society, but willful unconcern regarding social matters is also a political position.” [ (Vallen, 2004) ]
Byzantine Art as Propaganda (547 AD) [ (?) ]
Much of the artwork prior to the Renaissance typically fits into the Sociopolitical Art category. During this time period, very few people knew how to read, and most of the scholars were connected to the church. The church either directly or indirectly controlled most of the money, and flow of political and scientific ideas. It used art as a method of conveying religious teachings, and also as a method maintaining this control. The “Emperor Justinian I and his retinue of officials, soldiers and clergy” portrays the idea of the greatness and splendor of the church, and by extension the greatness of Justinian himself. The main ideas seem to be that (1) God is omniscient and omnipotent, (2) the clergy is God’s representatives on earth, and that (3) Justinian himself has been ordained by God Himself to be ruler of the people.
As“Maguire has pointed out more than one such interpretation may be correct, because the same image could be designed to have several meanings. Specifically, he notes that the mosaics of S. Vitale "celebrate the victories of Christ and of the emperor at the same time."(7) Certainly, the messages that Christ is powerful and that the emperor has a share in Christ's power are compatible.” [ (Andreescu-Treadgold & Treadgold, 1997) ]
Satire on Popery, 1555
(Anonymous)
The Satire on Popery definitely fits into the category of Satire. To a lesser degree it also fits into the Protest art category. This painting was done during the Reformation period. The Reformation period happened at a time when the literacy rate was beginning to climb as a result of the introduction of the Gutenberg printing press. People began to think for themselves, and question the teachings and authority of the Catholic Church. There was a general feeling during the Reformation period that many of the teachings of Catholic Church defied logic and in many cases in direct conflict with the bible itself. It was not until this period that people were able to obtain copies of the bible, to read and interpret it for themselves. Prior to the printing press people were forced to rely on the interpretations that were read to them by the church. This form of forced interpretation by the church began to view as form of tyranny by many people. [ (Zwicker, 2004) ] The caricature of the pope with three heads is a good example of the use of dichotomies, and absurdity mention earlier, used to make a point. “The caricatured pope is represented with three heads: the one in the middle bears the papal tiara, the one at left a turban, while the one at right is represented as that of an infant.” [ (The Metropolitan Museum of Art, 2006) ] Some Protestants of the time felt that because the Catholic Church still controlled free flow of ideas and scientific thought, that the church had taken on a somewhat kind of covert nature. They also felt that many of the Catholic Church officials had become corrupt, and were much more interested in serving themselves than the parishioners, or Christianity. Some of the features of this caricature underscore that feeling of corruption and secrecy. A large lizard like tail extends from beneath the papal robe, and on front of the robe is a broach with the insignia of a frog, both were common symbols of false religion. Many Protestants also felt that the Catholic Church had way too much influence on the army. The second figure in this scene represents a soldier. The coins that the pope is giving to this soldier is representative of the bribes that the church is said to have given the army as bribes to carry out the edicts of the church through force and coercion. [ (The Metropolitan Museum of Art, 2006) ]

Liberty Leading the People (1830)
(Delacroix)
Delacroix is an artist of the Romantic period. He did not paint many religious figures, which is typically what comes to mind with the mention of this period. He did however paint many secular subjects in the Romantic style. This painting, “Liberty Leading the People”, is a tribute to the victory in the three day war in 1830 and the proclamation of Louis Philippe as king. [ (Liberty Leading the People) ] “Delacroix was a member of the National Gaurd, and he placed himself into the picture as the man on the left wearing a top-hat” (waiting for reference) “It shows the allegorical figure of Liberty as a half-draped woman wearing the traditional Phrygian cap of liberty and holding a gun in one hand and the tricolor in the other. It is strikingly realistic; Delacroix, the young man in the painting wearing the opera hat, was present on the barricades in July 1830. Allegory helps achieve universality in the painting: Liberty is not a woman; she is an abstract force.” [ (Jacobus, 1986 ) ] It is this image of Liberty that is said to have influenced The Statue of Liberty in New York.
'L'Impudique Albion' (1901) [ (Veber) ]
'L'Impudique Albion' is a caricature driven commentary on the British involvement in the Boer War in South Africa. Britain was involved in two different wars in southern Africa with Dutch settlers. Many on the Dutch and French people were vehemently opposed to the British involvement in Africa, and blamed the Edward the VII directly. It is his face that is painted on the bottom of this “imperial” soldier, another attempted jab at Britain, making a statement that Britain’s real concern in Africa was to spread its empire, and to seize gold discoveries that had been made in Transvaal in 1886. [ (Bryant, 2008) ] Another fact that makes this piece interesting is that it was done shortly after the invention of the lithograph. Much like texts, prior to the Gutenberg press, reproduction of artwork prior to the lithograph, was a very difficult manual process. The lithograph brought with it an explosion of artwork, because for the first time, it could be easily reproduced.
Nazi Propaganda Art
(Fischer)
This Nazi poster from is meant to elicit two different responses. It is meant to convey a sense of remorse about how good life was before the Great Depression, which the Nazi party blamed largely on the influence of the Jews in international banking. A send message is one of strong national pride, and bright future ahead that can only be brought by membership in the Nazi Party.
The text in the poster “Before: Unemployment, hopelessness, desolation, strikes, lockouts. Today: Work, joy, discipline, camaraderie. Give the Führer your vote!" [ (Fischer) ]
These ideas are typical of much of the propaganda artwork of the Weimar Republic. Quite a bit of Hitler’s message was to blame the Jews for the economic situation that was happening in Germany at the time, and to promote the Nazi party as leading the way toward a new “super-Germany”
Chinese Propaganda Art [ (unknown) ]
Most of us do not remember a time when China was not already part of the Communist regime. This poster was created to stir the people in rebellion against the Japanese invaders that brought communism with them prior to WWII. “The Communist Party, in blue uniform, receives money from the red devil hiding behind a friendly Western mask.” [ (Unknown, Japanese occupation (1937-1945)) ]

Conclusion
There are political elements to almost all works of art. These political elements are dependant on factors that include general social climate, the views of the people that are paying artist to create the art, and the political views of the artist himself. These elements can also easily categorized, examined, and put into context. Art may include themes from any or all of the categories mention earlier, and also include multiple political messages that may seem on the surface, to be in direct conflict with each other. The important fact to remember is that all art, on some level portrays political messages.

References
Bibliography
?, M. Emperor Justinian I and his retinue of officials, soldiers and clergy, c.547 AD. Bridgeman Art.
Andreescu-Treadgold, I., & Treadgold, W. D. (1997, Dec 1). Procopius and the imperial panels of S. Vitale. Art Bulletin , p. 708(16).
Anonymous. Satire on Popery [German] (53.677.5). In Heilbrunn Timeline of Art History. The Metropolitan Museum of Art, New York.
Bryant, M. (2008). Boer Gore. History Today , 2.
Delacroix, (. V.-1. Liberty Leading the People, 28 July 1830. Bridgeman.
Fischer, H. Montage of "typical" Weimar-photos of workers on strike in the background. In the fore a, large sized Nazi work-duty man in uniform. University of Minnesota Libraries.
Jacobus, L. A. (1986 ). Humanites: The Evolution of Values. McGraw-Hill.
Liberty Leading the People. (n.d.). Hutchinson Unabridged Encyclopedia . Helicon Publishing.
The Metropolitan Museum of Art. (2006, October). Satire on Popery [German] (53.677.5). Retrieved Nov 13, 2009, from In Heilbrunn Timeline of Art History: http://www.metmuseum.org/toah/hd/refo/hob_53.677.5.htm
Unknown. (n.d.). Japanese occupation (1937-1945). Retrieved from Chinese Posters.net: http://chineseposters.net/gallery/e27-166.php
Unknown. Look! Look! The cruel injustice of the Communist Party ca 1938. unknown, D. Look! Look! The cruel injustice of the Communist Party ca 1938.
Vallen, M. (2004, Oct). WHY ALL ART IS POLITICAL. Retrieved Nov 13, 2009, from www.art-for-a-change.com: http://www.art-for-a-change.com/content/essays/political.htm
Veber, J. (.-1. Shameless Albion, caricature of Edward VII, from 'L'Assiette au Beurre', 28th September 1901 (litho). Bridgeman Art.
Zwicker, S. N. (2004). Recent Studies in the Restoration and Eighteenth Century. Studies in English Literature, 1500 - 1900 , 3.

Footnotes
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