s5 the state outline
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Power, Politics & Glory
Session 5Ms. Beka
Exploring Art: A Global Thematic Approach
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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.
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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.
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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.
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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
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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
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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.
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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.
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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.
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Social Protest/Affirmation
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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.
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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.
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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.
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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.
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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.
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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.
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Strategies for Protesting Oppression
Humor
Ester Hernandez’ Sun Mad is an example of humor.
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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).