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.


Tret’iakov, S., and S. Telingater. Dzhon Khartfil’d. [Moscow] 1936.
Herzfelde, W. John Heartfield. [2nd ed.] Dresden [1971].
References in periodicals archive ?
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.
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.
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.
There are portraits of important artists like John Heartfield (by Arno Fischer), whose brilliant photomontages satirised the early days of National Socialism, and the painter Otto Dix (by the Leipzig photographer Evelyn Richter, also represented by a self-portrait in a mirror with members of the Gewandhaus Orchestra).
The artists of German Dada, such as Hoch, John Heartfield, and Max Ernst responded through photomontage to the mechanization and fragmentation of bodies during World War I, as seen in Heartfield's "Fathers and Sons" (1924).
Entr'acte; the photomontages of Raoul Hausmann and John Heartfield.
They would never have the power and historic importance of the later anti-Nazi photomontages of John Heartfield.
He did, however, make use of the technique of collage which had been developed by John Heartfield and others at the beginning of the 1920s: by placing the figures and events in an alien environment he emphasises his message to the viewer.
43 and 208, in regard to John Heartfield and Joseph Beuys (her main man), respectively.
There was nothing delicate about the work of John Heartfield who arrived in 1930.
Berlin-born John Heartfield, who settled first in Prague, then London, cranked out dozens of scathingly satiric anti-Nazi designs for pamphlets and book jackets.