John Heartfield


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Heartfield, John

 

(real name Helmut Herzfelde). Born June 19, 1891, in Berlin; died there Apr. 26, 1968. German artist, poster artist, and designer.

Heartfield studied at the Munich School of Applied Arts from 1907 to 1911 and at the School of Crafts in the Charlottenburg section of Berlin from 1912 to 1914. In 1930 and 1931 he lived in the USSR, and from 1933 to 1950 he lived in Prague and London. He returned to the German Democratic Republic (GDR) in 1950. Heartfield created the proletarian antifascist, anti-imperialist photomontage poster. He also worked as a magazine illustrator, a designer for motion pictures, and a book illustrator. In 1957 he was awarded the National Prize of the GDR.

REFERENCES

Tret’iakov, S., and S. Telingater. Dzhon Khartfil’d. [Moscow] 1936.
Herzfelde, W. John Heartfield. [2nd ed.] Dresden [1971].
References in periodicals archive ?
Perhaps because it is a centenary exhibit, concerned above all with commemoration, one of the main ideas is how quickly people who experienced the revolution firsthand and outsiders, such as John Heartfield, understood that the Russian Revolution was a landmark event in history.
John Heartfield had already started to elaborate a graphic layout and had conceptualized iconic photographic portraits of George Grosz and Raoul Hausmann, among others.
The book includes chapter-length studies of artists Walter Benjamin, L<AEa>szl<AEo> Moholy-Nagy, and Kurt Schwitters; other artists discussed include Robert Musil, Erich Mendelsohn, John Heartfield, and Hannah H|ch.
John Heartfield is a fascinating figure, whose pioneering political graphic design --for long an inspiration to leftist photographers and designers like King--has in recent years become much better known.
145), by tearing ephemeral photographic images their mass-culture sources and then reconstructing otherwise quotidian reality in provocative ways that resist aesthetic or linguistic closure, particularly in the photomontages of John Heartfield and Hannah Hoch.
Todos los artistas que trabajaron el fotomontaje, El Lissitzky, Alexander Mikhailovich Rodchenko, Fritz Stammberger, John Heartfield, han advertido el potencial ideologico de la manipulacion de las imagenes que pasan por sus manos y la agitacion que pueden llegar a provocar.
Her conceptual grasp of the communicative powers and stylistic possibilities of the printed word is unparalleled, in that regard matching or surpassing the achievements of John Heartfield, Ben Shahn, Barbara Kruger, Ed Ruscha, Jenny Holzer, Mel Bochner, Bruce Nauman, Kay Rosen, and Raymond Pettibon.
During a time when writers like George Orwell, academics like those of the Frankfurt School, and artists like John Heartfield were visibly exploring the powerful nexus of aesthetic culture and politics, Wolfe used the potential of his own work to serve as a venue for cultural and political address, and in so doing, was able to say what others had not, or more importantly, could not themselves say.
Also, in an interview from 1944, the Berliner artist John Heartfield summarized the history of Dada and also its political ambitions:
His powerful expressions bring to mind the works of German Expressionists George Grosz, Otto Dix and Max Beckmann; John Heartfield, the master of political photomontage; the California Funk ceramists; and postmodern sloganeers like Barbara Kruger.
Returning to the issue of modernism in Britain in her fifth chapter, "'Degenerate' Art in Britain: Refugees, Interness, and Visual Culture", Wolff discusses the generation of artists in exile who emigrated to Britain as adults in the 1930s, such as Ludwig Meidner, Oskar Kokoschka, John Heartfield, Kurt Schwitters, and Jankel Adler.
However, the list also includes the names of such international leftist artists as Kathe Kollwitz, William Gropper and John Heartfield, whose work was recycled for publication here and not executed for the book.