Blind Macht (Blind Power) by Rudolf Schlichter
Blind Macht by Rudolf Schlichter was painted in 1938, in Nazi Germany during the time of World War II. Originally this piece was banned from display by the Nazis for its defiant and insubordinate views of the War that was initiated by Germany (Vallen). Upon Examination it shows a warrior wearing partial body armor on his leg and head, with demons eating and attacking his internal organs, while he is carrying a sword in one hand and a hammer and laborer’s tools on his other arm. This is all while he is depicted blinded by his armored helmet, walking himself off a cliff to his doom that is set in an environment where all the past and present accomplishments created by mankind are perishing in his blinded power.
The style of this piece can be linked to renaissance times for its attention to detail of the muscles and body proportion given to the warrior’s stature. Yet while the style may resemble a much earlier era of art its post-modernist view of the world can be linked to the age of chaos and destruction the artist lived in during the time of the Nazi regime. Its imagery is symbolic in that the demons and the warrior walking off the cliff represent greed and power as parasitical and self-destructive motives which will ultimately cause the demise of man. In addition, the background and tools he is carrying illustrate dadaist beliefs portraying that all of humanity’s previous accomplishments and achievements are worthless because they amounted to the destruction caused by World War II. Its grand appearance and seemingly heroic persona also contribute to the aesthetic value of the piece.
This work is a prime example of humanity’s response to chaos when immersed in the midst of destruction and an undetermined future. The future is rarely predictable and never guaranteed, thus when faced with such extreme adversity it is sometimes unfathomable how to make it through the cloud of unknowing. This painting is an illustration of the artists journey through that cloud.
Persecution by Irving Norman, 1950
This painting is Persecution by Irving Norman, painted in 1950. This work contributed to the social surreal movement occurring in art during the generation of this artist (Vallen). It was painted to show an obscure aspect of mankind and specifically the evolution of humanity. As can be observed there is a blue like creature resembling a man in figure, yet he is altered and is being stabbed by large spikes while he weeps with his head curled.
The figure is indeed meant to resemble a human figure, yet it illustrates that man has evolved into a grotesque monster and is trapped within a spiked prison for some form of punishment for his past deeds. There are also tears dripping from the creature’s face, proving that his human emotions have remained in tact despite his transformation from a human to something else.
The thematic portrayal of insanity and his reptilian figure in a different physical form created through destruction and violence renders fear in the audience. It is an illustration of the artist’s emotions of how the world may change in the future based off of the chaos and uncertainty prevalent in Norman’s era.
A Victim of Society by George Grosz, 1919
This painting was created by the dadaist follower George Grosz, during the early days of the Nazi Germany Regime. This painting is a perfect example of the non-conformist beliefs this artist possesed and his opposition towards the violence and brutality of his time (Vallen).
Shown is a man seemingly pieced together in an incoherent manner with knives coming from his neck, an object protruding onto his face, a mirror he is looking into, food plastered onto his head, and a question mark on his forehead. It is purposefully a disgusting representation of Germans at the time with the symbolism of the food on his head relating to being crude and fat and the mirror so he can see his own appearence (Vallen). The question mark is an illustration of the German society and customs being disputed and the figure itself questioning his own motives and actions.
During a time when the destructive abilities man possessed seemed immeasurable and a brighter future was invisible, Grosz extended his emotions through his art to create a piece that intentionaly did not reflect any of humanity’s previous styles. His anti-conformative and dadaist beliefs that everything we had done in the past must have been in vain if it surmounted to the mass death of war is evident in his art and views of the world. His internal perception of his fellow Germans was undoubtably negative for the events occurring in this period; perhaps he simply felt blinded by the state of chaos the world seemed to be lost in.
The Illusion of the Politicians Meeting Their End, by Julian Beever, 1997
After sharp economic and global declines, artists such as Julian Beever decided it was time to express a point and illustrate a message. This painting was commissioned by the Midnight Special on the night of the 1997 English General Election (44 Amazing). In fact, this very work was painted on the sidewalk directly in front of the Bank of England as a way to convey the message that the people of England will no longer stand for corruption and poor economic choices by their government.
Depicted in the picture are two politicians dressed in suits, trapped inside of a well in the ground, while another figure sits nearby and watches them suffer with a wide smile on his face. The politicians stuck in a hole represent the greed and self-destructive power of the country being voted out or thrown out of their positions of power. The figure standing by with joy, is a citizen who is elated to know that their future may just be secured or renewed. The fact that it was created on the eve of the General Election is an expression to the government that its people deserve better and to incite the citizens to take a coarse of action against the negative aspects of their country.
Thematically it is a creation that is the result of chaos and uncertainty in a person’s world. The image itself conveys the thought of renewal in that the unrighteous politicians were justly punished and the average citizen could once again be happy and renewed. Beever attempts to cause a reaction in citizens to consider who they vote for in more depth so the citizens would seize their country from the greedy and power hungry executives and renew the state of their country from economic turmoil to a thriving state once again. It is in this sense that Julian Beever expressed the need for renewal, even when in the thick of adversity.
Andre the Giant by Shepard Fairey, 1989
The Andre the Giant poster created my Shepard Fairey spearheaded one of the largest street art and propaganda campaigns in the history of the world. In 1989 while the artist Shepard Fairey attended the Rhode Island School of Design, he lived another life equal in greatness, yet completely anonymous (Fairey, Shepard). In the wee hours of the morning Fairey would spend his time deliberately pasting his posters and designs in public and heavily congested areas. Initially the picture of Andre the Giant was a humorous joke, but it wasn’t long until it snowballed into a world wide movement.
As can be observed in the poster it is a face of Andre the Giant with the word OBEY beneath it. The face was created such that people were meant to ponder it and fill it with their own meaning. It has been said by Shepard Fairey himself that the face has no real meaning; it means whatever the audience feels it should mean (Fairey, Shepard). Henceforth people fill the face with their own natural predispositions and emotions. Although the face may contain no meaning, it still serves a purpose. The purpose of the face is to raise awareness in the general population of people and to incite people to question their world and environment through observation rather than what they are told. The term obey is somewhat ironic to the objective of the face, considering that the face inspires question while the term obey requires obedience above the act of questioning. Perhaps this term creates anger within its audience, or perhaps it creates something entirely different; that is the decision of the individual and in that sense the individual has the power to think and act for themselves.
This piece was created in modern times and is applicable not only to the political events of the 1980s but to current events as well. With stock markets crashing, the world at war, and corporate owners and large political figures posting their propaganda everywhere, we as citizens become desensitized to our environment and eventually stop exploring and questioning it. This piece is a representation of an artist’s search for renewal in the midst of chaos and confusion. Through this picture Fairey attempts to educate people through their own observation and ask them to question their everyday lives instead of simply accepting what they are told by the large corporation owners and political figures in power.
