S5 The State Outline

Power, Politics & Glory

Session 5Ms. Beka

Exploring Art: A Global Thematic Approach

Function of Art

Rulers and governments use art to celebrate and spread their earthly power. Art is also used in war, either in creating weapons and armor for it or in making images that promote it. It also gives us images of peacemaking and monuments for peace.

Art can be an equally strong voice of protest against a government or against a social practice. People who are not in power can use art to art to affirm their ideas and to protest against warfare, oppression, or political policy.

POWER, POLITICS, AND GLORY

Throughout human history, a vast amount of artwork has promoted, popularized or propagandized governments as well as those who lead them.

Art has depicted war and helped shape our reaction to war.

Art has also celebrated peace.

Artists use devices for this function.

THE GLORY OF THE RULER

Artistic Devices

The idealized image: the ruler’s face and/or

body are depicted without flaw and often includes a wise or dignified demeanor.

THE GLORY OF THE RULER

Artistic Devices

Symbols: details are included

that indicate omnipotence, authority, or divine blessing: some symbols show military or religious power

THE GLORY OF THE RULER

Artistic Devices

Compositional devices: the ruler often

occupies the center of a picture and may be shown larger than attendants or other figures; the ruler’s clothing may attract attention

WAR

War is part of the history of most civilizations and

cultures, and it is part of the story of power, politics, and

glory.

War Scenes

Art can present war as a memorable, even glorious, action-filled event. Or art can document battles from various points of view. Finally art can emphasize the horrors of war.

War Memorials

An entire book could be devoted to

monumental art dedicated to war victories, battles,

and the dying.

Maya Lin designed the Vietnam Veterans Memorial in 1982.

Names of the 58,000 men and women who died in the war are carved on the black granite surface.

PEACE

Winged allegorical figures, doves,

women, and pastoral landscapes have

symbolized peace in Western art.

Gardens, bells, and temples serve as

monuments to peace in Asia, Europe, and

the Americas.

Social Protest/Affirmation

SOCIAL PROTEST/AFFIRMATION

Many artists protest injustice with their artwork.

They identify villains, honor heroes, and promote causes with emotional and visual impact unequaled by the written word.

Protest art is a form of affirmation, because it is based on respect for human dignity and the belief that change is possible.

FIGHTING FOR THE OPPRESSED

Artists who fight for the rights and

affirm the values of economically or

politically repressed peoples

use several strategies to make their points more

forcefully.

These include beauty, illustration,

narrative, humor and shock. Most social protest works are

designed generally to affect public consciousness, rather than to

prescribe specific changes.

Strategies for Protesting Oppression

Beauty

Beauty and excitement can be very effective elements.

In Eugène Delacroix’s Liberty Leading the People, Liberty has been personified and made like a Greek goddess in her profile and her idealized body.

Strategies for Protesting Oppression

Illustration

Lewis Hine’s 1910 photograph, Leo, 48 Inches High, 8 Years Old, Picks Up Bobbins at 15¢ a Day, illustrated the injustice of child labor.

Strategies for Protesting Oppression

Narrative

Ben Shahn’s The Passion of Sacco and Vanzetti, is a narration of an unjust trial that ended in the execution of two men.

Strategies for Protesting Oppression

Shock

Cildo Meireles’ Insertions into Ideological Circuits: Coca-Cola Project in 1970 was a shocking piece that protested the Brazilian government.

Strategies for Protesting Oppression

Humor

Ester Hernandez’ Sun Mad is an example of humor.

Affirming the Values of the Oppressed

When a group of people is oppressed,

their way of life tends to be discounted or

ridiculed.Art is an especially effective tool for

affirming the lifestyles and values

of down trodden groups.

In 1533, Hans Holbein the Younger painted the portraits of Jean de Dinteville and Georges de Selve (“The Ambassadors”). De Dinteville was a political leader and de Selve a religious leader, but both were examples of authority which affirmed all things can be studied understood and classified (faith is foolish).