Heartfield, John - Dadaísmo, Fotomontagem
Deutschland, Deutchland Über Alles
1929
Photomechanical reproduction
23.9 x 18.8 cm
Eastman House Museum of Photography & Film, Rochester, New York
Adolf the Superman Swallows Gold and Spouts Junk
Before 28 August 1932, printed before 1942
Gelatin silver print
35.4 x 24.6 cm; image: 33 x 24.1 cm
Museum of Fine Arts, Houston, Texas
Der Sinn des Hitlergrusses: Kleiner Mann bittet um grosse Gaben. Motto: Millonen Stehen Hinter Mir!
The Meaning of the Hitler Salute: Little man asks for big gifts. Motto: Millions Stand Behind Me!
1932
Photomechanical reproduction
The Metropolitan Museum of Art, New York City
Die drei Weisen aus dem Sorgenland
The three magi from the Land of Sorrow
"AIZ, Das Illustrierte Volksblatt", January 3, 1935, p. 16
Rotogravure print, rephotographed montage with typography
37.9 x 26.9 cm
Eastman House Museum of Photography & Film, Rochester, New York
Hitlers Friedenstaube
Hitler's Dove of Peace
"AIZ, Das Illustrierte Volksblatt", January 31, 1935, p. 80
Rotogravure print, rephotographed montage with typography
38.5 x 26.4 cm
Eastman House Museum of Photography & Film, Rochester, New York
Fantasie zweier Ostpaktjager
Fantasy of two Eastern Pact hunters
"AIZ, Das Illustrierte Volksblatt", February 7, 1935, p. 96
Rotogravure print, rephotographed montage with typography
38.2 x 26.5 cm
Eastman House Museum of Photography & Film, Rochester, New York
Das Spiel Der Nazis Mit Dem Feuer
The Nazis Playing With Fire
"AIZ, Illustrierte Volksblatt", February 28, 1935, p. 129
Rotogravure print, rephotographed montage with typography
38.5 x 26.5 cm
Eastman House Museum of Photography & Film, Rochester, New York
Neue Erfolge der Naziheilkunde: SENF statt Kase
New success of Nazi medical science: Mustard instead of Cheese
"AIZ, Illustrierte Volksblatt", March 8, 1935, p. 160
Rotogravure print, rephotographed montage with typography
38.0 x 26.6 cm
Eastman House Museum of Photography & Film, Rochester, New York
Hitlers bester Freund
Hitler's Best Friend
"AIZ, Illustrierte Volksblatt", August 15, 1935, p. 528
Rotogravure print, rephotographed montage with typography
37.8 x 26.5 cm
Eastman House Museum of Photography & Film, Rochester, New York
Auch ein Propagandaminister
Also a propaganda minister
"AIZ, Das Illustrierte Volksblatt", August 22, 1935, p. 544
Rotogravure print, rephotographed montage with typography
37.8 x 26.8 cm
Eastman House Museum of Photography & Film, Rochester, New York
Der Platz an der Sonne
The place in the sun
"AIZ, Das Illustrierte Volksblatt", October 10, 1935, p. 656
Rotogravure print, rephotographed montage with typography
38.0 x 26.5 cm
Eastman House Museum of Photography & Film, Rochester, New York
Die Lehre des Wolfes
The Teaching of the Wolf
"AIZ, Das Illustrierte Volksblatt", November 21, 1935, p. 752
Rotogravure print, rephotographed montage with typography
38.1 x 26.7 cm
Eastman House Museum of Photography & Film, Rochester, New York
Ubermensch in Noten
Superman in Trouble
"AIZ, Illustrierte Volksblatt", December 12, 1935, p. 800
Rotogravure print, rephotographed montage with typography
37.9 x 26.6 cm
Eastman House Museum of Photography & Film, Rochester, New York
O du frohliche, o du selige, gnadenbringende Zeit
O Joyful, O blessed, miracle-bringing time
"AIZ, Das Illustrierte Volksblatt", December 26, 1935, p. 832
Rotogravure print, rephotographed montage with typography
38.3 x 26.6 cm
Hurrah, the Butter is All Gone!
1935
Rotogravure print, rephotographed montage with typography
38,7x27,3 cm
Akademie der Kunste, Berlin, Germany
Neueste Muster der Nazi-Lebensmittelindustrie 1936
Latest samples of the Nazi food industry 1936
"AIZ, Illustrierte Volksblatt", January 9, 1936, p. 32
Rotogravure print, rephotographed montage with typography
38.2 x 26.6 cm
Eastman House Museum of Photography & Film, Rochester, New York
Der braune Tod vor den Toren
The brown death before the gates
"AIZ, Illustrierte Volksblatt", January 10, 1936, p. 32
Rotogravure print, rephotographed montage with typography
38.4 x 26.7 cm
Eastman House Museum of Photography & Film, Rochester, New York
Uniforfassen fur den Reichstag zu Worms
Come get your uniforms for the Reichstag at Worms
"AIZ, Das Illustrierte Volksblatt", January 23, 1936, p. 64
Rotogravure print, rephotographed montage with typography
38.1 x 26.5 cm
Eastman House Museum of Photography & Film, Rochester, New York
Nach drei Jahren in der Zange!
After Three Years in the Grip!
"AIZ, Illustrierte Volksblatt", January 30, 1936, p. 80
Rotogravure print, rephotographed montage with typography
37.9 x 26.6 cm
Eastman House Museum of Photography & Film, Rochester, New York
Zum Fall Hamsun-Ossietzky Knut Hamsuns Kandidaten fur den Friedens Nobelpreis
On the occasion of the Hamsun-Ossietzky case Knut Hamsun's candidates
"AIZ, Das Illustrierte Volksblatt", February 6, 1936, p. 96
Rotogravure print, rephotographed montage with typography
38.1 x 26.5 cm.
Eastman House Museum of Photography & Film, Rochester, New York
An einen sterbenden italienischen Soldaten
To a dying Italian soldier
"AIZ, Illustrierte Volksblatt", February 13, 1936, p. 112
Rotogravure print, rephotographed montage with typography
37.9 x 26.7 cm.
Eastman House Museum of Photography & Film, Rochester, New York
Hitler erzahlt Marchen II
Hitler tells fairy tales II
"AIZ, Illustrierte Volksblatt", March 5, 1936, p. 160
Rotogravure print, rephotographed montage with typography
37.5 x 26.5 cm
Eastman House Museum of Photography & Film, Rochester, New York
Bevor der Krieg euch fallt, muss er fallen! Schafft die Volksfront, die den Frieden sichert!
He must fall, before the war fells you! Create the Popular Front ...
"AIZ, Das Illustrierte Volksblatt", May 27, 1936, p. 352
Rotogravure print, rephotographed montage with typography
38.0 x 26.7 cm
Eastman House Museum of Photography & Film, Rochester, New York
Antwort Auf Ein Nazi-Plakat
Reply to a Nazi Poster
"AIZ, Illustrierte Volksblatt", June 10, 1936, p. 384
Rotogravure print, rephotographed montage with typography
38.0 x 26.7 cm
Eastman House Museum of Photography & Film, Rochester, New York
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Em "Hurrah, the Butter is All Gone!, 1935" uma família alemã encontra-se sentada a uma mesa de jantar, a comer uma bicicleta. A obra lembra um poster de propaganda: a lealdade da família para com Hitler é evidenciada pelo retrato do Fuhrer e pelo papel de parede com a suástica. O bebé abocanha um machado, também ele com uma suástica e o cão lambe um enorme parafuso e porca. A legenda em baixo diz: "Viva, a manteiga acabou-se! Tal como Goering afirmou na sua casa de Hamburgo: "O ferro tornou o Reich forte. A manteiga e a banha tornaram as pessoas gordas". Ao tomar a retórica alemã à letra, Heartfield demonstra o absurdo da sua proposta política. Antinazi fervoroso, Heartfield considerava a arte como eminentemente política. Foi membro do grupo dadaísta alemão e aperfeiçoou a técnica da fotomontagem para reprodução em revistas e jornais, nos quais partes de fotografias com diversas origens eram combinadas, de forma a criticar e satirizar a realidade do governo hitleriano. Jonh Heartfield nasceu em Berlim (ALE) em 1891 e morreu na mesma cidade em 1968.
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Helmut Herzfelde (John Heartfield) was born in Berlin in 1891. He started off by serving an apprenticeship as a bookseller in 1905/06 before going to Munich, where he studied at the Kunstgewerbeschule from 1908 to 1911. After finishing his studies, John Heartfield went to Mannheim, where he worked briefly as a graphic artist before returning to his native Berlin for more study, this time at the Kunst- und Handwerkerschule. John Heartfield was inducted into the German armed forces in 1915/16. Helmut Herzfelde chose the pseudonym John Heartfield in 1916 in protest against the anti-British mood then prevailing in Germany. In 1916 John Heartfield and his brother Wieland Herzfelde founded Malik Verlag in Berlin. The Dada movement was growing apace in Berlin, too, by 1917; its leading exponents apart from the Herzfelde brothers (pseudonyms: H. Herzfeld and John Heartfield) were Johannes Baader, George Grosz, Hannah Höch, and Raoul Hausmann. The Berlin Dadaists found the journal "Neue Jugend". Contact with George Grosz exerted a profound influence on John Heartfield. Heartfield worked with George Grosz for the leftwing satirical publications "Die Pleite" and "Der Knüppel". In 1917 John Heartfield also joined the KPD (German Communist Party). Between 1924 and 1933 John Heartfield did a great many illustrations for the Communist Party mouthpiece, the "Arbeiter Illustrierte Zeitung". John Heartfield often worked with photocollages, mounting them together to create pictures that made an extraordinarily powerful statement. From these works grew John Heartfield's political photomontages, which reveal the influence of George Grosz, among them the works contained in the 1929 Kurt Tucholsky text collection "Deutschland, Deutschland über alles". In the 1920s John Heartfield designed his first stage sets for Erwin Piscator and Max Reinhardt. In 1933 John Heartfield became an exile in Prague, fleeing to England in 1939. By 1950 John Heartfield was back in Germany, living at first in Leipzig. Later he again designed stage scenery in East Berlin, working for Bertold Brecht and others.
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