First, images present the campaign message to a wider and more varied audience. Images and pictures allow illiterate and foreign populations to fall under.

First, images present the campaign message to a wider and more varied audience. Images and pictures allow  illiterate and foreign populations to fall under the influence of propaganda tactics. People who cannot read about the atrocities of war can easily image the details from a single picture of a war ravished town.

It was while covering the Vietnam War for the Associated Press that he took his best-known photograph – the picture of police chief General Nguyễn Ngọc Loan executing a Vietcong prisoner, Nguyễn Văn Lém, on a Saigon street, on February 1, 1968, during the opening stages of the Tet Offensive.

Eddie Adams, PhotographerFebruary 1, 1968

Second, images present a clearer and more explicit message than just mere words. Words alone explain situations, yet illustrations add detail and references to the message. Different cultures give varying meanings to certain words and phrases; a picture will clarify the message conveyed by the words.

Temple of Ramses IIfrom Abu Simbel, Egyptca. 1290-1224 B.C.E.colossi approximately 65 ft. high

Victory stele of Naram-Sinfrom Susa, Iranca. 2,254-2,218 B.C.E.sandstone79 in. high

Third, pictures give political messages a more emotional appeal. When viewing a picture, people automatically attach a story line to the visual representation bringing personal feelings and contemporary influences to the image. By associating the picture with a part of their life, the viewer more readily accepts the propagandist's message.

Have you ever noticed how "art" from totalitarian dictatorships all looks the same? Large muscled people with weapons or tools wielded as weapons opposing someone or something. Look at the "art" produced by the Nazis, or the communists in Russia or North Korea, or the above Chinese poster. Change the faces and the lettering, and they're all the same.

““Workers of the mind and hand! Vote for the front soldier Adolf Hitler!”

A poster for the July 1932 Reichstag election. The caption says: “The workers have awakened!”

Following the Japanese bombardment of the US Naval base at Pearl Harbor, Hawaii, on December 7, 1941, the United States declared war on Japan and Germany and immediately mobilized the country for war. “Remember Dec. 7th!” is a propaganda poster intended to promote a sense of nationalism and boost support for the war effort.

American Women in Three Wartime Posters (1 OF 3)

SYNOPSIS: These three vivid and colorful posters are among the most beloved of all the propaganda posters produced bythe U.S. government during the war. This poster illustrates that women are encouraged to do what they can to win the war.

PRODUCED BY THE ROYAL TYPEWRITER COMPANY FOR THE U.S. CIVIL SERVICE COMMISSION. COURTESY OF NATIONAL ARCHIVES

The iwo jima picture was used for propaganda/advertising purposes after it was taken

Death of Marat; Jacques Louis David; 1793

Art was used during the French Revolution to pursue a frank political agenda, including creating a martyr of an assassinated hero of the revolution. Marat is shown here murdered in his bath, assassinated by a rival revolutionary Charlotte Corday (member of the Girondins).

He was a radical journalist for the Jacobins, David's party. The wound and dagger are of minimal importance in the painting. There is little blood, and the skin ailment is invisible. Instead we see a spiritual and noble Marat in an austere setting, a hero of the revolution.

Considered one of the most famous anti-war works of art, Pablo Picasso's Guernica(1937), symbolically shows the emotional nightmare of battle. Commissioned for the Spanish pavilion of the 1937 Paris World's Fair, Guernica depicts the brutal bombing and destruction of the Basque town Guernica during the Spanish revolution.

A 1903 political cartoon calls immigrants a national menace.

"Right to Life" Grayson Perry's quilt about abortion issues.A sand sculpture on female infanticide and

foeticide by artist Subal Maharana

Guerrilla Girls highlight the gender disparities in the art world and fight to rectify them. They publish books, protest at museums and galleries and give talks about female artists and their subordination.

A sculpture of a 45-caliber revolver with its barrel knotted, titled Non-Violence but frequently referred to as the “knotted gun”, outside the UN in New York, USA.

This piece of propaganda art was meant to dig into the fun that is Tsoukalicious without saying anything. ? (THE QUESTION MARK) is the only thing needed. You draw your own conclusions based on that. Think for yourself, question everything. Good art should always make you question something whether it’s a color or an ideal.

Giorgio Tsoukalos Propaganda Art by Hal Hefner

The selected works display the visual power of the Napoléonic propaganda “machine” and its scope of influence both politically and artistically.

Napoleon I on his Imperial Throne is an 1806 portrait of Napoleon I of France in his coronation costume, painted by the French painter Ingres.

From approximately 1800-1815, Napoléon Bonaparte used official propaganda to control artistic autonomy and manipulate public perceptions of his regime both in France and throughout Europe.

As a result, government-sponsored art created during the Consulate and Empire is frequently dismissed by art historians as lacking in experimentation, complexity, and beauty.

Napoleon Crossing the Alps, romantic version by Jacques-Louis David in 1805

Bonaparte Crossing the Alps, realist version by Paul Delaroche in 1848.

DAVID, Jacques-LouisConsecration of the Emperor Napoleon I and Coronation of the Empress Josephine1805-07Oil on canvas, 629 x 979 cmMusée du Louvre, Paris

In the Coronation of the Empress Josephine, David had originally intended to portray the event faithfully, showing Napoleon crowning himself. The Emperor, remembering the quarrels between the Pope and the Holy Roman Empire, placed the crown on his own head to avoid giving a pledge of obedience of the temporal power to the Pontiff.

GROS, Antoine-JeanNapoleon Bonaparte Visiting the Plague-stricken at Jaffa1799Oil on canvas, 523 x 715 cmMusée du Louvre, Paris

Bonaparte Visiting the Plague Victims of Jaffa depicts the noble Napoleon standing at the axis of the canvas. Around him are bodies some dead some dying of the Plague. Here in Jaffa the great Napoleon has come not only to colonize this part of the world but to save these plague stricken people.

His right gloved hand holds his left glove as he uses his bare left hand to touch a man stricken with the Plague. Amongst the disorder of the plagues victims Gros echoes the Napoleons victory.

Art as Propaganda•Glorify the power of the state•Exploited for religious purposes•Illuminate a social cause•Glorify the ruler