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Heartfield’s “Hurrah, There Is No Butter Left!1” plays on Hermann Goering’s contention that “Iron makes a nation strong, butter makes a nation fat.”
Hitler’s second in command is pictured as an mad executioner holding a bloody axe.
Heartfield’s montage is a visceral comment on the concessions to the Third Reich in Geneva in 1932.
The mouse can make concessions to the cat, but in the end, the cat will do what cats do.
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Introduction To Heartfield Photomontage For Magazines And Periodicals
John Heartfield knew the messages in his art must be made easily available to as many people as possible. He was able to achieve this goal through the process of rotogravure. His stunning anti-war anti-fascist montages appeared on the covers of widely distributed magazines and periodicals in Nazi Germany and Europe. The vast majority of these pieces will eventually be displayed in this Exhibition. Beyond the political messages contained in his work, Heartfield’s mastery of mixed media and typography is quickly apparent. His “Photomontages Of The Nazi Period” are masterpieces of graphic design.Along with his close friends and colleagues, a young John Heartfield joined the German Communist Party (KPD). The KPD was the most serious political threat to Hitler and The Nazi Party.Both the KPD and The Nazis promised a better life for ordinary Germans. The citizens of Germany were suffering because of conditions created by World War One’s Treaty Of Versailles.While remaining resident of Berlin, Heartfield produced political photomontage images that shouted from street corners that the promises of Adolf Hitler and The Nazi Party were built on hypocrisy, bigotry, race hatred, and extreme nationalism. When Hitler seized complete power in 1933, all political opposition was outlawed. Heartfield narrowly escaped from an SS Assassination Squad in Berlin on April 14, 1933. He fled to Czechoslovakia where he continued to produced his photomontages “as a weapon” against fascism and The Nazi Party.As the Nazi war machine moved towards Czechoslovakia, John Heartfield’s works of political art made him number-five on the Gestapo’s most wanted list.
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