![]() "Working in Germany in the interwar era, John Heartfield (born Helmut Herzfeld, 1891–1968) developed an innovative method of appropriating and reusing photographs to powerful political effect. Featured are Piet Zwart, a Dutch designer who brought his minimalist aesthetic vision to ubiquitous items like biscuit boxes and postage stamps Karel Teige, leader of the Czech avant-garde, who produced brilliant book and journal designs his compatriot Ladislav Sutnar, who brought modernist "good design" to tableware, clothing, and children's toys Gustav Klutsis, who pioneered using photomontage for political purposes Lazar (El) Lissitzky, who produced some of the most exciting book, poster, and exhibition designs of the 1920s and '30s in Germany and Russia and German artist John Heartfield, who worked exclusively in photomontage to design book covers, journals, and agitational posters for the Communist cause. This volume highlights the work of six influential European artists who took this idea into the wider world, where it merged enthusiastically with demands in the industrial marketplace, the nascent mass media, and urban popular culture. Beginning around 1910, vanguard artists demanded that true art go beyond the intellectual and transform daily life. If you would like to publish text from MoMA’s archival materials, please fill out this permission form and send to. If you would like to reproduce text from a MoMA publication, please email. For more information about film loans and our Circulating Film and Video Library, please visit. ![]() ![]() For access to motion picture film stills for research purposes, please contact the Film Study Center at. Motion picture film stills cannot be licensed by MoMA/Scala. ![]() All requests to license archival audio or out of copyright film clips should be addressed to Scala Archives at. At this time, MoMA produced video cannot be licensed by MoMA/Scala. MoMA licenses archival audio and select out of copyright film clips from our film collection. If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations). He is most noted for the satirical montages targeting Adolf Hitler and his followers that he created in the 1930s for the magazine AIZ (Die Arbeiter Illustrierte Zeitung). He designed book jackets for leftist literature at his brother's publishing house Malik Verlag, and from the mid-1920s his photomontages began to appear in left-wing periodicals. In 1918 he joined both the Berlin Dada movement and Germany's Communist Party. He shared a studio with his friend, the painter George Grosz, and together they anglicized their names as a protest against the war. His earliest photo-based works involved juxtapositions of combat photographs with government war propaganda. The outbreak of World War I ended his studies in 1914. He studied at Munich's Königliche Kunstgewerbeschule with the Jugendstil poster artists Weisberger and Hohlwein, and later with Ernst Neumann, an advertising designer. Best known for his politically-themed photomontage work of the 1930s lampooning the machinery of war and the rise of fascism.
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