ISBN10: 1849761841, ISBN13: 9781849761840, [publisher: Tate Publishing] Hardcover 160 Seiten; *** Top Zustand! F24-M03-XL-4-101 Sprache: Deutsch Gewicht in Gramm: 3
[Baden-Württemberg - Herrenberg, Germany] [Publication Year: 2015]

ISBN10: 1849761841, ISBN13: 9781849761840, [publisher: Tate Publishing] Hardcover First Edition 175 Seiten, mit zahlreichen farbigen Abbildungen. Buch sehr gut erhalten, SU leicht berieben. ISBN: 9781849761840 Sprache: Englisch Gewicht in Gramm: 1340
[Boizenburg, MV, Germany] [Publication Year: 2015]
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ISBN10: 1849761841, ISBN13: 9781849761840, [publisher: Tate Publishing October 2015] Hardcover Hardcover. Minor shelf-wear to book and jacket. Interior is clean and unmarked, binding solid.
[Anacortes, WA, U.S.A.] [Publication Year: 2015]

-Tate Publishing (2015)-. Collection catalogue. First edition first printing 2015. 176 pages. Illustrated mainly in colour. Cloth in dustjacket. Fine. As new. This large-format overview of the work of John Heartfield draws on the superlative collections of the Academie der Kunst, Berlin, and the David King collection at Tate Modern. Born in Berlin in 1891, Heartfield, along with George Grosz, is widely considered to have invented photomontage, a technique of cutting up and manipulating photographs. During the 1930s Heartfield s engagement with this medium produced some of the most visually arresting and politically hard-hitting artwork of the twentieth century, appropriating the widely-circulated propaganda of the time to create its total antithesis. John Heartfield began his career as a graphic designer for his brother s legendary publishing house Malik Verlag, at which time he also joined the German Communist Party for whom he created many satirical posters. However, his pre-eminence in photomontage was confirmed by the work he produced for the Communist weekly AIZ and Volks Illustrierte, creating 237 photomontages between 1930 and 1937. In his own words, he used laughter as a devastating weapon to target the Nazi regime of violence and demagogy, but this in turn made he himself a target for Nazi scorn and censorship. In 1933 much of his work was destroyed when the Gestapo ransacked his studio, and the ensuing years saw him flee in exile around Europe where he continued ...