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Sto caricando le informazioni... Totalitarian Art: In the Soviet Union, the Third Reich, Fascist Italy and the People's Republic of China (edizione 1990)di Igor Golomstock
Informazioni sull'operaArte totalitaria: nell'URSS di Stalin, nella Germania di Hitler, nell'Italia di Mussolini e nella Cina di Mao di Igor Golomstock
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Totalitarian Art is an indispensable work of reference on the art produced under four regimes that, between them, are responsible for the deaths of tens of millions of people.
In the Soviet Union, and later in Maoist China, theories of mass artistic appeal were used to promote the Revolution both at home and abroad. In Nazi Germany and Fascist Italy they asserted the putative grandeur of the epoch. All too often, art that served the Revolution became "total realism," and always it became a slave to the state and the cult of personality, and ultimately one more weapon in the arsenal of oppression. Igor Golomstock gives a detailed appraisal of the forms that define totalitarian art and illustrates his text with more than two hundred examples of its paintings, posters, sculpture, and architecture, and includes a powerful comparative visual essay which demonstrates the eerie similarity of the official art of these very different regimes. Non sono state trovate descrizioni di biblioteche |
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Google Books — Sto caricando le informazioni... GeneriSistema Decimale Melvil (DDC)700.947The arts Modified subdivisions of the arts Standard subdivisions of the arts Historical, geographic, persons treatment of the arts Europe Russia & Eastern EuropeClassificazione LCVotoMedia:
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A popular characterization of totalitarian regimes is that they are dismissive of all forms of art- 'When I hear the word culture, I reach for my pistol', says Goering. But this is only partially true. These regimes do destroy all opposition, and will marginalize the avant-garde, even if the latter may try and support the new all-powerful state.
On the contrary, the totalitarian state values art, but as a means to an end. The state portrays itself as a means to an end, the final proud state of a nation, the high point of history and national unification. Art is a tool of the state, and all of the state-approved artists will try and mold the popular psychology into becoming totally subservient to the states world-view. Any outsiders, like the Modernists or Futurists, ate either converted or destroyed, possibly both. Everything is dedicated to this inflexible ideal of what the state wants. The author calls this phenomenon 'total realism'.
And what does this leave us with? Things that are very very bad, very very dull, and they all look the same. It all looks the same, whether Fascist or Communist. The same themes. The Iconic Leader. The Happy People. The Soldiers. The Farmers. The Workers. It's Incredibly kitschy on a grand scale and incredibly tedious.
Same for architecture. You get these big ugly monoliths that are supposed to impress and intimidate the people by being huge. Prora. The Great Hall of the Soviets. Mussolinis new towns. All big and brash. Although north Korea is not mentioned in this book, I think their ghastly Ryugong hotel and their big blocky Triumphal Arch all qualify.
Bizarrely fascinating stuff. Could use more color pictures, though. ( )