Art as Political Statement
It is almost impossible to completely separate art from the social and political context in which it originates. When considering art works from a variety of contexts and situations, it is clear that artist as often as not ignored and embraced politics as either inspiration for their work, or indeed treated it as a force to be shunned for its destruction of the creative spirit. Both acceptance and defiance of the political arena, it will be shown below, constitute a form of political statement in terms of art.
Expressionism
Expressionism began its evolution during the early part of the 20th century. This movement contrasted with impressionism in that it did not aim to reproduce, but rather to impose its views of objects in the world. When taken from a political context then, the political agenda is not always clear, as the artist is attempting to represent his or her own reactions to the world that is perceived, rather than providing an accurate, realistic depiction thereof. The main aim of the impressionists was to find and reach the highest intensity of expression.
In terms of politics, expressionism enjoyed its most profitable time during an interesting political era. Germany was mostly the focus of this art form. Particularly interesting in this context was the Dada movement, of which George Grosz was a part (Shipe).
George Grosz
Grosz depicted his distaste for the Weimar Republic by creating distasteful images in his drawings. "The Hero" is one of these. It depicts the somber image of a war veteran, mutilated both physically and mentally, as suggested by the wide and somewhat vacant smile on his face. The image is made all the more somber by the fact that there is a total absence of color to the drawing. It appears that Grosz is making a point about the irony of a society that calls its war veterans "heroes," but that is too preoccupied with its own pursuits to realize that the hero has to beg for a living. This is an open statement about the politics of the time, and many examples of this could be found in the artwork...
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(176) In this regard, Nead notes that because she was an art lover, Richardson experienced a moral dilemma in her decision to attack "The Rokeby Venus," but she felt compelled to do so anyway based on her perception that the government was failing to act responsibility towards women in general and the suffragettes in particular. "In her statement during her trial, Richardson appears calm and articulate and nothing is said
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