What Do You Need to Become a X-ray Tech

the avant-gardes at the xxe century the avant-gardes at the xxe century to launch a proclamation it is necessary to want: A. to be irritated and sharpen the wings to conquer and spread the small ones and the large ones has, B, C. Its existence was already proven by the accordion, the landscape and the soft word is a natural thing, - thus regrettable. Everyone does it in a form of cristalbluffmadone, monetary system, pharmaceutical product, naked leg inviting to burning and sterile spring. The love of the innovation is the cross sympathetic nerve, shown a jem' enfoutism naive, sign without cause, passenger, positive. But this need is also out-of-date. By giving to art the impulse of supreme simplicity: innovation, one east human and truth towards the recreation, impulsive, vibrating for crucifier the trouble. With does the crossroads of the lights, alert, attentive, by watching for the years, in the forest? Each spectator is one intrigant, if it seeks to explain a word (to know padded refuge of the serpentine complications, it is necessary to handle his instincts. To explain: Recreation of the ventrerouges to the mills of empty craniums. If one finds futile and if one does not waste his time for a word which does not mean anything. The first thought which turns in these heads is of the bacteriological order: to find its origin etymological, historical or psychological, at least. One learns in the newspapers that the Krou negros call the tail of a holy cow: HOBBY-HORSE. The cube and the mother in a certain region of Italy: HOBBY-HORSE. A wooden horse, the nurse, double assertion in Russian and Rumanian: HOBBY-HORSE. Scientists journalists see an art for the babies there, other saints jésusapellantlespetitsenfants of the day, the return to a primitivism dry and noisy, noisy and monotonous. One does not build on a word the sensitivity any construction converges with the perfection which annoys, stagnant idea of a gilded, relative marsh produces human. A?uvre of art is never beautiful, by decree, objectively, for all. Criticism is thus useless, it exists only subjectively, for each one, and without the least character of general information. Believes one to have found the base psychic common to all humanity. The test of Jesus and the bible cover under their broad and benevolent wings: shit, animals, days. How wants one to order the chaos which constitutes this infinite informs variation: the man. The principle: "likes your next" is a hypocrisy "Know" is a Utopia but more acceptable because it contains spite in it. It remains us after carnage the hope of a purified humanity. Stalactites: to seek everywhere, in the cribs increased by the pain, the eyes white like hares of the angels. Thus was born HOBBY-HORSE from a need for independence, of mistrust towards the community. Those which belong to us keep their freedom. We have enough the academies cubists and futuristic: laboratories of formal ideas. One makes art to earn money and to cherish the nice middle-class men. The rhymes sound the assonance of the currencies and the inflection slips along the line of the belly of profile. All the groupings of artists led to this bank while overlapping on various comets. The door open to the possibilities of vautrer in the cushions and food. Here we jettons the anchor in the fatty ground. Here we have the right to proclaim because we knew the shivers and the awakening. Drunk ghosts of energy we insert the three-pronged fork in the heedless flesh. (I do not forget the creators, nor the great reasons of the matter whom they made final.) The futuristic one sees the same cup moving, a succession of object one beside the other decorated malicieusement few line-forces. That does not prevent that the fabric is good or bad painting intended for the placement of the intellectual capital. The new painter creates a world, of which the elements are also the means, a sober and defined?uvre, without argument. This world is not specified nor defined in the?uvre, it belongs in its innumerable variations to the spectator. For its creator, it is without cause and theory. Order = disorder me = not me assertion = negation: supreme radiations of an absolute art. Absolute in purity of chaos cosmic and ordered, eternal in the globule second without duration, breathing, light, control. I like an old?uvre for his innovation. There is only the contrast which connects to us with the past. Their readers laugh and continue: what good is it. There is a literature which does not arrive until the voracious mass. ?uvre of creators, exit of a true need for the author, and for him. Knowledge of a supreme selfishness, where wood are étiolent. Here is a staggering world which flees, promised in marriage to the grelots of the infernal range, here is on other side: new men. Here is a mutilated world and literary médicastres in evil of improvement. I say to you: there is no beginning and we do not tremble, we are not sentimental. We tear, furious wind, the linen of the clouds and the prayers, and prepare the large spectacle of the disaster, the fire, the decomposition. Let us prepare the suppression of mourning and replace the tears by the sirens tended of a continent to the other. Houses of intense joy and widowers of the sadness of the poison. HOBBY-HORSE is the sign of the abstraction. the advertisement and the businesses are also poetic elements. Philosophy is the question: on which side to start to look at the life, god, the idea, or anything of other. I do not believe more important the relative result, than the choice between cake and cherries after dining. With did the blue eyeglass of an angel they trench the interior for twenty pennies of unanimous recognition? If all are right and if all the pills are only Pink, let us try once not to be right? One believes capacity to rationally explain, by the thought, which he writes. The psychoanalysis is a dangerous disease, deadens the inclinations anti-realities of the man and systematizes the middle-class. The dialectical one is an amusing machine which leads us/in a banal way/to the opinions that we would have had in any event. One believes, by the meticulous refinement of logic, to have shown the truth and bench the exactitude of his opinions. Logic tightened by the directions is an organic disease. The philosophers like to add to this element: Capacity to observe. But precisely this splendid quality of the spirit is the peuve of its impotence. One observes, one looks of one or several points of view, one choose them among the million which exists. Is the experiment also a result of the chance and individual faculties? Science is repugnant to me as soon as it becomes speculative-system, loses its character of utility - so useless - but at least individual. I hate fatty objectivity and the harmony, this science which finds all in order. Continue, my children, humanity, nice middle-class and virgin journalists? I am against the systems, most acceptable of the systems is that to have by principle any of it. Impotence to distinguish between the degrees of clearness: to lick the half-light and to float in the large filled up mouth of honey and excrement. There is not the importance that we, reîtres of the spirit, lavish to him since centuries. Art does not afflict anybody and those which can be interested in it, will receive caresses and beautiful occasion to populate the country of their conversation. The artist, the poet is delighted by the venom of the mass condensed in a head of department of this industry, it is happy while being insulted: proof of its immutability. Flask and insipid flesh multiplying using the typographical microbes. We hustled leaning it pleurnichard in us. Any filtration of this nature is crystallized diarrhoea. To encourage this art wants to say to digest it. We need strong, right, precise and forever misunderstood?uvres. It draws wire from the concepts, words, in their formal outside, worms of the ends, the illusory centers. Its chains kill, myriapode enormous asphyxiating independence. It is also a point of sight but all the flowers are not holy, fortunately, and what there is the divine one in us is the awakening of the anti-human action. It acts here of a paper flower for the buttonhole of the Messrs who attend the ball of the masked life, kitchen of the grace, white flexible or fatty cousins. They adulterate with what we selected. Contradiction and unit of polar in only one jet, can be truth. If one in any case makes a point of pronouncing this banality, appendix of a libidineuse morality, badly odorous. Morals atrophies like any produced plague of the intelligence. That each man shouts: there is a great destructive work, negative, to achieve. Without goal nor intention, organization: the untameable madness, decomposition. Morals determined charity and pity, two balls of tallow which pushed like elephants, planets and which one names good. Kindness lucid, clear and is decided, pitiless towards compromising and the policy. Morality is the infusion of the chocolate in the veins of all the men. This task is not ordered by a supernatural force, but by the trust of the merchants of ideas and the university monopolizers. Sentimentality: by seeing a group of men who quarrel and are bored they invented the calendar and the drug wisdom. Very produced dislike likely to become a negation of the family, is hobby-horse protest with the fists of any sound being in destructive action:. knowledge of all the means rejected until now by the sex public of the convenient compromise and the courtesy: HOBBY-HORSE abolition of logic, dances of impotent of creation:. abolition of archaeology: HOBBY-HORSE abolition of the prophets: HOBBY-HORSE abolition of the future:. indisputable absolute belief in each god produces immediate spontaneousness:. , howl of the contracted pains, interlacing of the opposites and all contradictions, grotesque, inconsistencies will:.edu/dada/dadaist%20texts/tzara. Above the clouds, Midnight goes. Above Midnight, the invisible bird of the day planes. A little higher than the bird, the ether pushes and the toîts float. Studied philosophy At the Bonn university (1909 - 1911). Never had any formal artistic training. Exhibited At the First German Autumn Saloon "Sturm", Berlin, 1913 and in the same year went to Paris for the first time. There He cam to know the work of Picasso and of Chirico. In 1914 He puts Arp At the "Werkbund" exhibition, Cologne. Further exhibition At the "Storm" gallery, Berlin, in 1916. Organized the hobby-horse-exhibition in the "Brauhaus Winter", which was closed by the police force have contrary to "morals". In 1920 first exhibition of joinings At the "Without Similar" gallery, Paris. Took leaves in the hobby-horse-meeting in the Tyrol 1921, together with Arp, Breton and Tzara. Contribution to "Hobby-horse in the Tirol, At the Large Air, Der Sängerkrieg". Took year activates share in the founding of surrealism and became one of the leading surrealist painters. Moved to New York in 1942 and lived both there and in Sedona, Arizona, until his return to France in 1954.org/~dadaist/English/Graphics/ernst. "The scandals associated with the name of max Ernst during the early post-war period cuts become legendary. Radical They were sparked off by actions designed to to impress the middle-class men to the utmost. Yet the artist' S involvement in this standard of activity was sporadic and temporary. He ounce explained why this was so during has visit He and I made in 1967 to the great Dada retrospective in Paris. Being has Dadaist by profession, He said, was has contradiction in terms. There was No such thing have year unchanging state of revolution. This is indicated by the revolutionary, coil-destructive elements that occur in so many of Ernst' S texts. "The positive term ' building' is appropriate in this connection, although it may seem year extraordinary paradox. With few examples will serf to meant show what is. Max Ernst' S rejection of art was given has stylistically determined form. The works that now emerged were structured by principles that governed the choice of materials and by constant that determined to their uses. From the beginning Ernst knew how to set limits one the infinite number of possibilities offered by existing materials and forms. When He invented this new working procedure based one quotation in 1920/21 He immediately recognized both its potential and the dangers it involved. "The expressive possibilities of simple joining seem so that one is tempted to think that anyone could employ them to equal effect. For all to their independence from traditional artistic technical and the natural imitation of, it is surprising how much stylistic unity these works evince. Thanks to his stylistic syntax Ernst created recognizable links between the works, which form has coherent sequence. Criteria of choice and criteria of employment are everywhere in evidence. Indeed, the effect of every max Ernst image depends largely one the fact that it sets its own limits. And one should note that it was has climate his contemporaries found almost unbearably bracing. This is why, in dealing with max Ernst' S work, it is impossible to C without the concept of processing, the conscious reworking of existing material. It is pointless to speak of anti-art in this connection, because what we are dealing with, quite objectively, is the genesis of has superb and far-reaching aesthetic. This is the not At which Ernst, the artist, comes one the scene. We must face up to has paradox: his early work had No direction, and was has far cry from his subsequent Dada activities. Everywhere we look, we find invariable that opposes the seemingly unlimited availability of the material, that considerable place restrictions one its character and uses. "Let custom try to define has few of the constant of this pictorial syntax. Important The most is that max Ernst' S joinings, for all to their strangeness, strive for overall coherence and technical plausibility. The join and overlappings had to Be concealed from the viewer. Composite This is why Ernst frequently published his imagery only in printed form, photographic reproduction gold in versions later touched up with watercolour. He was out to produce irritating imagery in which, have in the perfect crime, every clue to its identity had been erased. The join between the joining elements, moreover, were not so much physical have mental in nature. The hinges linking one part of invisible source material with another had to remain, which also explains why leaps in scale tended to Be avoided. These would cuts given too much emphasis to the original meaning of the elements, upsetting the coherence of the final image. Strict It is easy to see that such conditions limited the uses of joining material to has much grater extent than is initially apparent. Considerations of this kind served max Ernst have has guideline in making his selection from the will plethora of intrinsically neutral material available to him. "The laws of Dada - this seeming contradiction in terms is one of the most consequential results of has systematic investigation of the aesthetics of joining in max Ernst' S work. With glance around his studio will illustrate what I mean. Spectacular depictions with Dadaist gold surreal qualities of to their own interested him hardly At all. Banal Instead, it was the, insignificant, run-of-the-mill illustrations that inspired him to pictorial statements of the most dazzling kind. "In the joinings various levels of meaning coexist there is individual pictorial plane. Composite Confronted with this imagery we cuts No choice drank to apply the concept, familiar from traditional art, of the picture have has unity, has totality. Looking At pictures has accustomed custom to considering the reasons that appear within year image have has whole. It was Ernst' S refusal to accept information At random that led to the recognizability of his joinings have his own. His resistance to has world captured in visual media was the basis for his style. For style is not merely has technical category, goal all ethical one. Have Joe Bousquet ounce could it: ' For all of the liberties He helped custom conceive of, for every concept He discredited, max Ernst paid the highest price. His life withstood continual tension between has creative furore that nothing could contain and incredible year extremely rigorous method based one almost demands. Text from Werner SPIES, introduction to.de/lemo/html/biografien/ErnstMax/index. I know myself with reading the age in the physiognomic lines of the face: it has sixteen years and four months. Mervyn, this wire of the England blonde, has just taken in its professor a lesson of fencing, and, wrapped in its Scottish tartan, he turns over in his parents. For a long time I praised myself to have all the possible landscapes, and found ridiculous the celebrities of painting and poetry modern. - A black, E white, I red, O blue, U green. - I regulated the shape and the movement of each consonant, and, with instinctive rates/rhythms, I flattered myself to invent an accessible poetic verb, one day or the other, with all the directions. I wrote silences, nights, I noted the inexpressible one. The poetic old-fashioned thing had a good share in my alchemy of the verb. Then I explained my magic sophisms with the hallucination of the words. I end up finding crowned the disorder of my spirit meets fortuitous of two réalites distant on a not-being appropriate level (that is known as while paraphrasing and while generalizing sentence of Lautréamont celebrates it: Beautiful as the fortuitous meeting on a table of dissection of a sewing machine and an umbrella) or, to use of a shorter term, the culture of the effects of one. the mechanism of the process seems to me revealed by this very simple coupling example of two realities seemingly inaccouplables on a plan which seemingly is not appropriate to them. I slip on the roofs of the winds I slip on the roof of the seas I do not move more silk on the ices I like Chinese with naked I like most naked with the variations of bird I am old but here I am beautiful And the shade which goes down from the deep windows Épargne each evening the black core of my eyes. The Enduring Significance of the Work of max Ernst. Marcel DUCHAMP and Man RAY playing the failures on the roofs of Paris in. Born Emmanuel Radnitsky, one August 27, 1890, in Philadelphia, the first of furnace children of Melach Radnitsky, has tailor, and Manya Louria (gold Lourie), both Russian-Jewish immigrants. Individual He assumed the combined first and last name of Man Ray when his entire family adopted the surname Ray in 1911. Graduating from high school in 1908 with has determination to become year artist, He daringly refused has scholarship to study structures. Establishing has lifelong pattern, He improvised, sometimes copied, more often invented, and constantly learned from his friends. That year He moved out of the family home first to Manhattan and then to has little cottage in year artists' colony in Ridgefield, New Jersey. In May 1914 He married Adon Lacroix, has Belgian-born, French-speaking poet. they had No children. Man Ray also bought has camera, chiefly to document his own art works. At this time He puts Marcel Duchamp, who became his closest friend and strongest artistic influence. The Rope Dancer Accompanies Herself with Her Shadows (1916), influenced by Duchamp' S then unfinished The assembly Attaches Stripped Bare by Her Bachelors, Even (19151923) and painted from has joining, illustrates the multiple media and influences that became has fixed share of his style. (1916-1917), has series of ten joinings accompanied by has text, rendered mysterious Man Ray' S developing theories of art by creating deliberate confusion between abstraction and representation. (1917) with has commercial airbrush -- has "pure cerebral activity," He asserted, since the artist never touched the work' S surfaces. And He created his first photographic images. Portraits and reproductions of works of art brought him has living room without trudging to year office. He experimented with puns, whimsies, shadows, and symbols, such have the eggbeater and its shadow that became the photograph titled (1918) and the flashbulb reflectors, six clothespins, and shadow that became Woman (gold Shadow) (1918), both suggestive of Duchamp' S "objet trouvé. In butt 1918 He and his wife separated, although they did not divorce until 1937. His marriage having collapsed, Man Ray burned has number of his older works, borrowed $500, and set off to Paris in July 1921. Paris both rewarded and disappointed him. Welcomed by the Dadaists have has precursor, He fell immediately into to their social scene. His first show, under hobby-horse auspices, however, proved that Paris also offered No market for his paintings. With his rayographs, have Man Ray called them, He had, said writer Jean Cocteau, unlearned painting by making "paintings with light. His success, however, was undeniable. Experimental His several films commanded enthusiastic audiences among the Paris literati and remain has subject for scholars of the film. His art appeared frequently both in exhibitions and in various magazines, ranging from avant-garde publications to Vogue and Harper' S Bazaar. Man Ray earned has good living room and generally enjoyed his expatriate life in the Paris art community. The return to the United States, where Man Ray had never gained acceptance have year artist, was difficult. He stayed only briefly in New York City, largely avoiding the art world, and soon migrated to Los Angeles. He also puts Juliet Browner, has dancer. they were married one October 24, 1946. In March 1951 the Man Rays sailed for France. During the next quarter century Man Ray continued to Paint, to make objects, to commission replicas of his objects ("To create is divine," He wrote. His places in art history was secured in the 1960' S have dadaesque objects again flourished and photographic images gained acceptance have works of art. Major exhibitions in Paris in 1962, Los Angeles in 1966, Rotterdam in 1971, Paris in 1972, and in New York in 1974 demonstrated renewed appreciation of his lengthy career. Nonetheless, his place in twentieth-century art continued to grow after his death. William Copley, one of his owners, termed him "the Hobby-horse of custom all." He brought together year astonishing number of the characteristics that cuts been labeled "postmodern" in the art made in the years since his death. He sought to "amuses, bewilder, annoy, and inspires" rather than to shock -- but to will confront the full terrors of the twentieth-century world. © Biography Resource Center, 2001 Group. Scale (...) Dadaism did not die: simply, it changed. "The shadows that things make The things that shadows make" What kind of shape does the absence of light cuts. [ Adolfo Martinez in PhotoVision 22, has quarterly publication, 1981, Arte y Proyectos Editoriales, S. See also Experimental Vision, The Evolution of the Photogram since 1919, by Floris Mr. Neususs, Thomas Barrow and Charles Hagen, 1994 Denver Art Museum ]. The application of the paramount concept of the photogram has its roots in the moments of the history of chemical-based photography. This was done have year alternative to drawing. In 1918 Christian Schad (1894-1962) (German), who was inspired by cubism, began experimenting in Europe by making cameraless photographic images. Schad' S new imagery was constructed by taking discarded unimportant objects and arranging them. The photograms created from these arrangements had taken one has new form and meaning not considered previously. These prints were published in 1920 in the magazine Dadaphone by Tristan Tzara. It was Tristan Tzara who called these images Schadographs to express train has Dadist desire to create art from discarded objects. Schad' S technical descriptions of his were eventually used by both Man Ray and Lazlo Moholy-Nagy in their more extensive explorations. Paul Getty museum handbook of the photographs collection Weston Naef, 1995]. Man Ray (1890-1976) was born Emanuel Rudnitsky in Philadelphia. He became famous because of his photogram imagery. His early influences in New York included attending the National Academy of Design and going to readings At the before guard To shoe Social Center. Formative During his years He was fortunate to cuts met Alfred Steiglitz, and later Marcel Duchamp, and Francis Picabia. Man Ray, became has colleague of Marcel Duchamp and Francis Picabia during the New York Dada period. In 1922 He experimented with producing images using only light and photographic paper. He called these Rayographs images, combining his name and the source of light and being similar to Andre Breton' S "automatic writing He produced these Rayographs by arranging transleucent and opaque objects one photosensitive materials. His techniques included immersing the object in the developer during exposure, and using stationary and moving light sources. [ Naomi Rosenblum, A World History of Photography, 3rd edition 1997, Abbeville Press, p394 ]. Man Ray obviously did not invent the photogram, goal He breathed life into the technical and gave it has spirit. He moved to Paris in 1921 where He did professional portraits and fashion photography. Creative It was during this time that Man Ray explored many aspects of the photogram. László Moholy-Nagy (1895-1946), American, born in Austria-Hungary (in Bacsborsod). He moved to Vienna in 1919 after serving in the army. He later moved to Berlin, creating metal sculptures and paintings. This term was used have has direct comparison with the rapid direct communication of the telegram. [ László Moholy-Nagy, Vision in Motion (1947) ]." This exhibit travelled through the winter of 1947. Moholy-Nagy used many unconventional methods to create effects in his photograms that noone had previously considered gold demonstrated effectively. For example, He is reported to cuts squirted oil into developer and squeezed oil between sheets of glass during exposure to the photosesnsitive emulsion. Moholy continued throughout his life to explores the possibilities of light. Moholy had claimed that He discovered the photogram without knowing of the work of Christian Schad gold Man Ray. Moholy-Nagy is considered has major influences one the history of photography. He trained photographers in the uses of light. Moholy' S luminograms are completely butt light and design. He was born in Haag amndt Hausruch, Austria and died in 1985, Santa Barbara, California. Christian Schad (1894-1962) - Man Ray (1890-1976) - began making photograms in 1922 in Paris which He called Rayographs. Eli Lissitzky (1890-1941) - born Elizar Morduchivitch Lissitzky, Russian, was one of the first to apply the photogram technical in advertizing art. In 1924 Lissitzky designed has poster for Pelikan inks. 1930-40sLotte Johanna Alexandra Jacobi (1896-1990) was born in Prussia and lived in Berlin from 1925-1935. She left Germany and emigrated to the United States to flee Germany Nazi. She lived in New York City for two decades and then lived in New Hampshire until her death. She is very well known for her portraits and created has variety of photogram and luminogram images. Carlotta Corpron (1901-1988) was born in Blue Earth, Minnesota. She spent her formative years in India At year English boarding school and returned to Michigan State Normal School (now Eastern Michigan University). degree in art education she studied art education and fabric design At Teacher' S College of Columbia University obtaining her M.edu/handbook/online/articles/CC/fcoda. Corpron became has teacher At Texas Woman' S University in 1935 and in 1942 she led has light workshop for Lazlo Moholy-Nagy. Her "Patterns Light" and later "Light Follows Form" series employed light to create patterns one three-dimensional objects. Raoul Hausmann (1886-1971) was born in Austria and was has writer and sculptor. Hausmann was has movement cofounder of the Berlin Dada in 1917, just prior to the end of WWI. In 1923, experimental Hausmann stopped painting in favor of exploring several photographic technical, including the photogram. Gyorky Kepes (1906 - 2001) - Hungarian - born in Selyp, Hungary and educated At the Royal Budapest Academy of Fine Arts. After completing his degree He joined the studio of Laszlo Moholy-Nagy and from 1930 until 1936 He worked with Moholy-Nagy. Through Moholy-Nagy He was whitebait to meet Walter Gropius. Kurt Schwitters (1887-1948) - German - born in Hanover, Germany, He was A student of the Dresden Academy of Article Schwitters was has painter who worked in Hobby-horse, Constructivist and Surrealist kinds. Early in his career He called one of his joinings the Merz picture. Afterwards He referred to all of his work have Merz. Forced to leave Germany during the years leading up to WWII, He left Germany for Norway in 1937. By 1940 Germany had invaded Norway and He was again forced to flee to England where He was interned. Alexander Rodchenko (Aleksandr Mikhailovich Rodchenko) (1891-1956) Russian - born in St He studied At the Kazan School of Art and At the Stroganov Institute in Moskow. Year avant-garde artist, began taking photographs in 1924. He worked first have both has painter and graphic designer. Later He began to uses photography and social photomontage to communicate his concepts in A way He could express train better through photographic methods. He was influenced by the photomontage of the German Dadaists and began to uses these technical aces early have 1923. Jaromir Funke - (1896-1945) Czech Curtis Moffat - English - assistant to Man Ray.org/wnet/americanmasters/database/ray_m. HEARTFIELD: HELMUT HERZFELDE says JOHN (1891-1968). Attracted very early by the Marxism, Heartfied, which lives in Berlin since 1913, is influenced by George Grosz. this one introduces it into the dadaïst group in 1918. With Grosz, Heartfield will carry out some photomontages of futuristic style (. In June 1920, it takes part in the international Fair hobby-horse (with Raoul Hausmann and Grosz). Little after this date, Heartfield creates its first militant photomontages, speciality for which it will give up soon painting. It is engaged in particular in 1930 as collaborator of the working newspaper), of which it illustrates many covers of photomontages whose violence will make say to Louis Aragon that Heartfield "is the prototype and the model of the artist antifascist". Helmut Herzfelde was born in Berlin, Germany one 19th June, 1891. His father was has socialist writer and his mother was has textile worker and trade union activist. Have has result of to their politics the family was forced to flee to Switzerland in 1896. After leaving school At fourteen Herzfelde worked for has bookseller in Wiesbadenl. In 1907 He became year assisting to the painter, Hermann Bouffier, and two years later became A student At the School of Applied Arts in Munich. In 1912 Herzefelde started work have has designer in Mannheim for has year before moving to Berlin to study under Ernst Neuman At the Arts and Crafts School. During the First World War Herzefelde began contributing work to Die Neue Jugend, year arts newspaper published by his brother, Wieland Herzfelde. He was drafted into the infantry where He meets George Grosz. With pacifist and Marxist, Herzfelde, changed his name to John Heartfield in 1916 in protest against German nationalism. During this period artists such have George Grosz, Otto Ten, max Ernst and Kurt Schwitters form the German Dada group. Some of these artists, including Ernst and Schwitters, were influenced by the work of Heartfield and developed his ideas one photomontage. In 1923 Heartfield became editor of the satirical magazine. Heartfield also worked for the socialist magazine., where He used photomontage to attack Adolf Hitler and his Nazi Party. Under threat of arrest, Heartfield was forced to leave Germany in 1938. Heartfield moved to England where He produced photomontages for the Reynolds News, Picture Post and Penguin Books. Heartfield returned to Germany in 1950 where He designed scenery and posters for the Berliner Together and the Deutsches Theater in Berlin. In 1960 He became professor At the German Academy of Arts in Berlin. John Heartfield died in Berlin one 26th April, 1968 Aces we know, Cubism was has reaction of painters to the invention of photography. John Heartfield today knows how to salute beauty. His art is art in Lenin' S sense for it is has weapon in the revolutionary struggle of the proletariat. George GROSZ interviewed by Erwin PISCATOR (1928):. Have so often happens in life, we had stumbled across has vein of gold without knowing it., October 1932: "significance of the hello hitlérien. I have million behind me. To the small men, one needs great gifts "Bertolt BRECHT, discussing the origins of photomontage (1949): John Heartfield is one of the most important European artists. He works in A field that He created himself, the field of photomontage. Through this new form of art social He exercises criticism. steadfastly one the side of the working class, He unmasked the forces of the Weimar Republic driving toward war. He (Wieland Herzfelde) was small of stature, just like his brother John Heartfield. During the First World War, Wieland published has literary newspaper, Die Neue Jugend - work one which was repeatedly interrupted by ends of military service. The newspaper carried poems by Wieland' S friends and some of my drawings. When Wieland was called to the face ounce again, has new man joined the editorial board: the boisterous poet Franz Jung. Die Neue Jugend At ounce assumed has new face: it became aggressive. Its new format was based one that of American journals, and standard Heartfield used joinings and bolder to develop has new style. Wieland, unlike most of custom, was year optimist At heart. All that stopped, of race, when Hitler cam to power. Wieland became has refugee like has hundred thousand others.org/F/exposi/plus_dinfo_expos/HEARTFIELD/HEARTFIELD_INDEX. Photomontages of John Heartfield: Political art as projectile John Heartfield (1891-1968) is one of the large communist artists, who wanted to use his professional knowledge to contribute to the transformation of the company. Dadaïst, it rose against the madness of the First World War. Spartakist, it drew up himself against the Germanic empire and the wormeaten Weimar Republic. Antifascist, it dissected like a surgeon the fast rise of Fascism. Communist, it contributed to the development of the socialist experiment in GDR. On the basis of a social and political engagement concrete, it was constrained, as an artist, with fundamental innovations and did not fail to work out them, in practice and in theory. Heartfield did a work of pioneer in the field of the graphic arts applied: covers of books, posters, illustrations, put on page of periodicals, stage sets. Helmut Franz Jozef Heartfield is born with Schmargendorf, close to Berlin, June 19, 1891. His/her father, Franz, are a socialist poet who writes under the pseudonym of Franz Held. His/her mother, Alice, are, until her marriage, working textile. The family emigrates in Switzerland and, later, Austria. Helmut will know hardly his/her parents: both die when it is eight years old. The father disappears and will die in a house of the poor. Helmut, his/her Wieland brother, two years its junior, and his/her two younger sisters are high in families of reception. When it reaches the fourteen years age, Helmut wants to become painter and engages like apprentice at Hermann Bouffier. In 1908, it stops its training of bookseller with Wiesbaden to start studies of drawing and painting to the academy of Munich. In 1911, it finds an employment at the advertising department of a paper factory in Mannheim. It is there that it carries out its first posters. In 1913, it goes to Berlin where it follows the class of painting to the working School of art and craft industry. In August 1914, Wieland is called for the face of Flanders. In February 1915, it returns because one considers it "unworthy to carry the uniform of the emperor". Helmut makes its service, him also, in 1914 and must normally join to the Regiment Keizer Franz Jozef. The author Else Lasker-Schüler, whose friend, the poet Georg Trakl, perished on the Austrian face, advises to him to simulate a nervous disease. He is put at work as assistance-post-office employee. During the summer 1915, the Herzfeld brothers make the knowledge of the painter and draughtsman Georg Gross (1893-1959). They tie an at the same time artistic and political friendship. Gross is well-informed well from what occurs in the artistic mediums European progressists. In Paris, it met the cubists Braque and Picasso which made him discover the futuristic ones (Italian). It was in liaison with the innovators among the artists and pacifist outlaws or in escape: dadaïsts in Zurich. In 1916, the three companions change their name, as a protest against German nationalism. They cannot digest that the song of Ernst Lissauer is imposed like daily hello: "Gott strafe England." (That God punishes England - that it punishes it. It is Helmut which goes further in its protest: he changes his name into John Heartfield. Gross francizes its first name, which becomes George, and transforms its surname into Grosz, to pronounce with English (as in ` boss'). Wieland is more careful: it adds a ` e' to its surname which from now on "sounds more internationalist". In 1916-17, the trio publishes the satirical review antimilitarist. It is an innovation on all the plans. Literary and artistic review, it appears under the format of the American popular illustrated newspapers. The contents are caught some in a particularly sour way at all the middle-class and capitalist company. Page-setting is entirely new. The written form reflects the chaos of this time ", wrote in 1928 Jan Tschichold, graphic designer and collaborator of Heartfield. Grosz, which does not have almost any formation or political sight, introduced a whirling life style antibourgeois and a hatred pitiless, cynical, war and of its persons in charge. As draughtsman, it had already developed an incisive style, very personal. "to adapt me a personal style which would return justice to strong brutality, with the insensitivity of my objects, I studied the most brutal expressions of the impulse of expression. The drawings of the urinals seemed me to be the most direct traces of a spirit charged. The drawings of children also inspired to me: no ambiguity. Thus I came from there all gently to my manner of drawing. I needed some to lay down my observations on paper. In 1914, Grosz had engaged like volunteer to be able to choose itself his regiment. In 1915, it falls seriously sick and is exempted of service. But he knows the horrors of the face, first hand. Heartfield has very an other source of inspiration. Anger and resistance to this foolish war also develop among the German soldiers. Factor, it realizes in the way in which those circumvent the severe censure, in the charts and letters which they write to their close relations. To the wise, the care to include/understand the message. The idea of the photomontage was born: the juxtaposition of various elements to create a new message. John and George now put themselves to manufacture themselves of the postcards and to send them. They stick photographs, drawings and sometimes of the texts which, by their combination, become denunciation, démasquage. To state clearly that he does not want to be regarded any more as ` artiste', John gets dressed with the overalls of the assembler. Well quickly, it receives the nickname of ' the monteur'. The writer Franz Jung (1888-1963) becomes a fixed collaborator of. Near to the radical wing of the SPD (spartakists) around Rosa Luxemburg, it introduces into the group the discussion and the line Marxist-Leninist. in 1917, Wieland Herzfelde, poet and writer, launch the publisher Malik 3. The small group thus has a new support to express its protest and its artistic energy. The publisher becomes a true laboratory. From now on, they do not work any more for one small group of experts or pars, where it is of good tone to be eccentric and with counter-current. Heartfield is constrained to apply the new ideas of working while holding account of the constraining laws of the profitability of the company. It is necessary that the books are sold. They must draw the attention and wake up the interest. In 1912, the satirical author German Kurt Tucholsky (1880-1935) wrote already: "We must use much more photographs. Agitation is never enough striking. Nothing shows more, does not strike more images. With contradictions and comparisons. About 1916, John Heartfield decides to arrange with the wall cupboard his pencils and his brushes to devote himself to photography as arms principal. "I saw how the middle-class press used in its fight photography - the photographs and the legends were generally used to deform reality. When people saw caricatures, they often said: "Not, it is nevertheless exaggerated. The middle-class newspapers used photography for glorifier the war. The workmen were to thus use photography them also to make their publications more alive - to say the truth on the war. Not, he wanted to exploit the force of conviction of photography for the revolutionary working class. He wanted to use the undeniable force of photography against those which, until there, had deceived them, against the exploiteurs. The publisher Malik is one of the first in the world to use photographs to make more persuasive the covers of books. "We wanted that, as of the first glance, our books are attracting and that at the same time, they have also an agitator effect. Even those which did not buy the book were to be influenced by looking at it. We used even the backs of the books for this purpose. Even on the rack, the book was to push to think and encourage of the reading. But the brothers John and Wieland encounter a new problem: combination of the text and the image. That which saw the book was to have the feeling which it acted of the real life of the masses, their needs, of their fight. Thus, Heartfield wrote or drew the title in a way hanging in the photograph. But again, that made it more difficult to read or disturbed the image. This problem unceasingly encouraged it to seek and create. For each task, it sought the most adapted typography. Collaboration and the interaction necessary between the word and the image are crystallized in the formed duet of John, the assembler image, and Wieland, the poet and essay writer. Until the death of John in 1968, this collaboration will remain very intense. Only the years of war also constitute a forced rupture, perceptible in work. In addition, Heartfield continues to collaborate with Grosz, more intensely still. To sign their works, they use a single seal: ` Grosz-Heartfield mont'. They make especially joinings with pieces of text, words, letters of all sizes, mixed with photographs and drawings. But one did not speak yet about true photomontages, such as Heartfield will describe this new concept as of the middle of the Twenties. With many regards, the First World War represents the one time end. One needed cannon fodder and the socialist leaders were to take care to provide some, which they did in all the countries. The artists more the progressists let themselves take - sometimes until their loss - with the social democrat traps. Many artists knew with their costs the horrors of the massacres and the war of trenches. In all the countries engaged in the conflict a mode of terror and dictatorship of war reigns. Many are those which saw perishing of the friends or saw them returning mutilated. Vis-a-vis with this capitalist system which generated and which justifies such a cruelty, a rough resentment develops. At the same time, it is all the ` culture occidentale' at the base of this system which is aimed. All is questioned and sometimes put, literally, sens.dessus.dessous. The middle-class, quarrelsome, has at this deceived point of the ` values solides' of art and the culture that many artists ruent themselves in manner frantically on the dump of the history. Blows of mouth, kicks, claws, spittles and abrasions everywhere in Europe, the artists change course. Art as such - with a capital letter - is ` aboli'. To the place, the ` dada' - without capital letter comes. And do not ask what that means. Certainly not the art which is used to disguise the system nicely. In Switzerland, where exiled political the and artistic ones of all Europe gathered, dadaism is born in 1915, around the Voltaire Cabaret. Hans Arp, Tristan Tzara and Richard Huelsenbeck direct the boxing match, the favorite attraction of these ` happenings'. During this time, in Petrograd, Velimir Khlebnikov, the brothers David and Vladimir Bourliouk, Vladimir Maïakovski and the cubofuturists organize evenings of the same quality. In New York, it is Alfred Stieglitz, French Marcel Duchamp and Man Ray who give the tone. In Antwerp, one finds Paul Joostens and Paul Van Ostaijen. In Berlin, it is our trio Herzfelde - Heartfield - Grosz which animates the ground swell of Berliner dadaism. One can speak about a marked social engagement which, for much of artists, will lead to continuations, misery, the prison, the exile or, if they are still with the face, to death. Almost everywhere, the political organizations Marxists developing a clear analysis and a concrete strategy are missing. It is that the war in revealed the untrue character, terre.à.terre. What they want above all, it is to draw the attention to this damnée reality. They draw with red balls on (néo) the expressionnists, a form of art where however of many antimilitarists and pacifist engaged. For the dadaïsts, there is no more space in art to occupy itself of the individual feelings of the artist. And the artist should not try any more to express ` feelings universels', even if it acts of anger, resentment or impotence. All these images and values beautiful and strong definitively flew in glares. It is the task of the artists to cut in parts the last masks and lies which still make up this rotted company. Also, joining becomes one of the most used forms among the dadaïsts. The cabaret or the variety is the favorite form of joining of all that is presented like ` dada'. Poetry becomes a work of cutting and joining of words and letters of all kinds and all sizes. The music takes as a starting point the the jazz, technique of joining par excellence. In the visual arts, the artists continue on the way traced by the cubists and the futuristic ones. The Bolsheviks undertake their vast political and social experiment. Maïakovski succeeds in making work with enthusiasm almost everyone of the artists progressists and avant-garde for the defense and the construction of the revolution. In 1918, they publish their review De Kunst der Commune with Nikolaï Pounine, Vladimir Tatline, Ossip Brik, Kasimir Malévich, Boris Kouchner. They assume responsibilities in the new structures of the State and the large schools and institutions artistic. They develop on various tracks a new theory and a new artistic practice which must become a cylinder of the engine of the new company. Tatline generalizes the denomination of their movement: constructivism. They are called the manufacturers - of a new art, of a new company. On the remains of the old company, of its arts and its culture, it is necessary to create a new total art. In 1919, Lénine declares the bankruptcy of the former Second International Socialist. An international news, the Third International Communist the Comintern, is founded. Tatline designs a monument which must become the central office of the Comintern in Moscow. At outside, on a gigantic screen, films of topicality of the whole world would be to be projected each day. From the technical and architectural point of view, the project is extremely dared and innovating. An enormous spiral symbolizes the revival, progress and the hope which is carrying the socialist experiment. Firmly anchored in the matter and reality, the tower turns in an increasingly complex unit towards a future still unknown but full with hope. In Soviet Union, small-scale models were carried, year after year, by the workmen in the processions of May 1. Out of the Soviet Union, Tatline and its tower of the Comintern became the banner behind which lined up the committed and revolutionary artists. With the world exposure of Paris in 1925, the tower of Tatline was one of great attractions of the Soviet house. In the other countries engaged in the conflict, the harassing of the war and the revolt grow at sight of eye since 1917. In May 1917, a great mutiny bursts in the French Army. About half of this army is implied in this indiscipline ' collective'. The mutinies are repressed violently and, a long time, their existence is held secret. In Germany, it is the signal to follow the example of the Soviet Union and to reverse the emperor and all his mode. To the day before of the revolution of November, Richard Huelsenbeck, from return of Switzerland, returns to Berlin. In October 1918, new Kommunistische Partei Deutschland (KPD) is founded, in Berlin also, by Rosa Luxemburg and Karl Liebknecht. Heartfield, Herzfelde and Grosz are among the whole first to adhere to the party and to receive their chart of member of the hands of Rosa Luxemburg. Luxemburg and Liebknecht will loosely be assassinated on January 15, 1919. Heartfield and Grosz are the engines behind the movement Berliner hobby-horse. The publisher Malik widens of a department Dada, they publishes review DER hobby-horse 3 and envisages the edition of an atlas of pocket dadaïst, dadaco. In February 1919, they launch the illustrated review. In June 1920, large International the Hobby-horse Mass (purse hobby-horse) is organized in Berlin. One can see there signs and joinings on which one reads in particular: "art died. Live the new art of the machine of Tatline ". "Hobby-horse fights at the sides of the revolutionary proletariat". "the man dadaïst is a radical enemy of the exploitation". A photographic joining of Raoul Hausmann is exposed: Tatlin At home. Obviously, it is not a question of an exposure of which the goal is to sell as much as possible. Critic of art Marxist Walter written Benjamin: "Among dadaïsts, the work of art is not any more one tempting obviousness or a convincing cry. In an interview granted in 1944, John Heartfield tells:. This is why the expressionnism is the greatest lie of the twentieth century. "the painters, the poets, the philosophers, the preachers can paint, versify, philosophize, preach as long as they can, rifles do not cease drawing. The most important man of this world is not the painter, the poet, etc. "Before the revolution of 1917, hobby-horse was nihilist. That means: to destroy the ` spirituel' until the extreme to be able to infiltrate until true reality. With the nihilism, this period also knew the conscience of loneliness - a cry in the brutality of the corruption, the indifference and the servile tender. "Then the revolutions came from 1917, 1918, the advent of the Soviet State in spite of the counter-revolution and the interventions. Suddenly, the awakening: We are not alone. And these masses are our allies - they carry out it with what we could only aspire and whom we could not reach in spite of our desperate efforts. "one positive period ago of intense development, widening, new prospects and influences. De Proletkult, while passing through the Russian experimentalists like Tatline and Maïakovski and especially the Ehrenburg writer, until the progressive displacement of the centre of gravity. The revolution had brought the message to us "We are not alone". The lesson that we now learn from the Soviets was: not it how but it what. Not how to express something, it is not the form which counts, but what is said, contents. From 1922, it works almost exclusively as worker of agitprop of the Communist Party. It carries out working posters, booklets, texts and calendars, photomontages, first pages of Die Rote Fahne. It gives conferences and lessons in Masch (working School Marxist), organizes the meetings of the KPD where it recites sometimes his own poems. In 1925, the graphic Workshop of the Central Committee is created. He becomes also collaborator of the section agitation of the Comintern. In November 1926, Heartfield launches with Bertolt Brecht sporting magazine ARENA. The poet Erich Weinert and the ` to defer enragé' Egon Erwin Kisch count among the collaborators. Only some numbers will appear." the 14 KPD now tries to start a systematic work among the artists. In 1923, Wieland Herzfelde launches, with John Heartfield, George Grosz, Rudolf Schlichter, Otto Schmalhausen, Alois Erbach and other artists, the satirical review of the KPD. Several time, Der Knüppel was criticized for its intellectualism. But it was the first center of art proletarian-revolutionist in Germany, Rote Gruppe - Association of Communist Artists is born. We completely quote the advertisement published in. "Group of communist artists Groupe Red painters and draughtsmen organized in the Communist Party joined in a Group of communist artists that their knowledge and their competence are only tools with the service of the fight of class. For the place of the mode of production still very anarchistic of the communist artists, it is necessary to found a planned collaboration. Organization of unified evenings of ideological propaganda. Assistance practises with all the revolutionary actions. Interventions against the ideological vestiges ` vrijduitse' (romantic - patriotic) with proletarian actions. Work of ideological and practical conviction among the revolutionary artists. Interventions and standpoint against the cultural events counter-revolutionaries. Work of setting to the variation or neutralization among the middle-class artists. Use of middle-class artistic exposures to ends of propaganda. To establish contacts with artistic students of schools to bring them to revolutionary positions. We consider the Red Group as a core which widens to become an organization of all the proletarian revolutionary artists of Germany. Several writers, among whom the man of theatre, the comrade Erwin Piscator, already joined to the Group of communist artists. We call the painters and writers to be joined to us on the basis of our platform of work and to collaborate with us. Address your correspondence to Rudolf Schlichter, Neue Winterfeldtstrasse 17 in Berlin. Berlin, Red 13 June 1924Groupe - Association of communist artists. In 1924, Heartfield carries out its first true photomontage as arms with agitprop, at the time of the tenth birthday of the release of the war, August 4, 1924. They are the famous Père assembly and wire - 10 years later. It shows a line of skeletons taken along by the General Liztmann, a hero of the Large War. Against the logic of the prospect, a group of soldier-children go to the foreground towards the General. The legend is: "children of today - deaths of tomorrow". The assembly was carried out for the display of the store of Malik. The whole of the display is conceived like an assembly. But it is still rather a fortuitous assembly which a true assembly. Heartfield and its brother will become very strict on the concept of assembly. It is not enough to stick some photographs one against the other or one on the other. "the photomontage Väter und Söhne 1924 and, in 1925, the book of John Back Passos, represent an important stage in the work of Heartfield. On the cover a photograph of three soldiers is reproduced who write postcards with orée of the forest. A starry sky of a major blue reinforces the romanticism of the image. It is born thus something moreover than simply narrative, set of themes. Thanks to the collaboration of two elements is born a testimony which expresses the realistic character of the book. "later, when Heartfield applies it deliberately, we will call this method the dialectical photomontage. It uses the dialectical one not by easily confronting the cause and the consequence, or the illusion and reality, but while revealing their tangle. "What is essential in the photomontages of Heartfield. The reverse is also possible: the image changes the significance of the text. But even if the text becomes superfluous, the photomontages of Heartfield always need a thought, of an idea. It is art graph-arts person, a philosophical collaboration and esthetics between the word and the image, sometimes also with the color. Remainder, Heartfield uses sometimes drawings or paintings for its assemblies. It rather seeks photographs which approach the format of the booklet, the poster or the book. The appearance of the photomontage is sometimes allotted to dadaism or at the time of. It is to confuse the photomontage with the joining, which is a work of the useless joining, in best of the cases gracious or shocking. "the photomontage is not a photographic joke nor a simple work of joining. By an image or the association of images with a legend, one can give a characteristic. An image of Göring with a striking legend leads the spectator to discover his aspect and its character. But an image of Göring on an innermost depth of flames tells with the spectator what justice does not say. "Let us take for example the image of a sprinter in full effort and see which new solutions in the field of the contents we can realize by the photomontage. "Let us stick a group of sprinters, placed in prospect behind our sprinter and one sees clearly who is the winner. If one sticks the group to the foreground, we have a trainor. If we equip the sprinter with a jacket with floating sides of shirts, the impression is created that robbers stole his trousers to him. If one sticks a stringcourse on the eyes of the sprinter and that one makes lead the way to a ravine, it acts of the tragic image of a man who runs to his loss. "the kitchen of the photomontage was especially the cinema. The whole of the components of the movement gives an image of the subject, development of an idea. The cinematographic assembly corresponds to the clean dynamics of the subject. The photomontage, as for him, changes the relations between the facts. "the photomontage starts where a deliberated intervention modifies the initial contents of the photograph. When children play the puppet with figures cut out in the newspaper, it is a stage in the way of the photomontage. The decisive stage in the development of the method of assembly of Heartfield, it is the edition, in 1929, on the book of Kurt Tucholsky. When the author saw the material of illustration, it decided to adapt the text and to extend it, which encouraged Heartfield to continue to carry out photographs and photomontages. All the book, like says it the subtitle, is ` monté'. (AIZ, illustrated working newspaper) publishes photomontages of Heartfield regularly, extracts of the book of Tucholsky. AIZ is published by International ArbeiterHilfe (AIH, a large organization of help created in 1921 by the Comintern and directed by Willi Münzenberg. AIZ and AIH had been created to support the countryside against the famine in Soviet Union. In 1923, the newspaper is renamed Sichel und Hammer (sickle and hammer). In 1925, it is taken again by Neuen Deutschen Verlag and becomes le.000 exemplary 24 and will be the second popular review of the kind in Germany east to be allotted in particular to the very popular photomontages of John Heartfield and to the new revolutionary style of page-setting of the review, imitated even beyond the borders. "There is a parallel development extremely interesting between the work of Heartfield for Malik and the press of agitation of German people of left. Since 1923, the diversity of the photographs does not cease growing and, in 1925-1927, they fill of the whole pages of cut out photographs and assemblies agitators. At the end of 1926 especially, developed in the use of whole pages like sets of photomontages with blocks of text. A new style of publication and agitation had been born. For reasons of contents, this one broke with the dominant form at the time - and always into force today - illustrated magazines. For reasons of contents, one resorted to the photomontage. When the Nazis arrive at the capacity in January 1933, the drafting of takes the legs to its neck, by giving up behind it a great part of its files. John Heartfield escapes from accuracy while jumping of the balcony whereas the Nazis already penetrated in his house. Many photomontages are reproduced in dimension reduced like postcards or labels, to be introduced clandestinely and diffused more easily in Germany. Heartfield reinforces its technique so that the assemblies reveal the gasoline of the message, even with the most furtive glance. In the Nazi Germany, it was enough to be taken looking at an assembly of Heartfield to be continued. On this point, its enormous experiment of originator of covers of book came to him extremely well at the right moment. Within the framework of the strategy of the Popular Front developed by the Comintern, the title of the review changes as from August 19, 1936 to become. In October 1938 - in Munich, Chamberlain and Daladier give Czechoslovakia in gift in Hitler - the drafting leaves for Paris but, there, the review will never find its dash organizes an investigation among its readers to know the most appreciated graphic elements review. Many sendings express enthusiasm for the assemblies of Heartfield. The drafting announces, in the same number, that a photomontage of Heartfield will appear each month. The rate/rhythm will be much higher. From February 9, 1930 to October 5, 1938, Heartfield publishes almost each week its photomontages become famous, often on first page, if not back page. In certain numbers, the photomontage occupies a double page. On the whole, 235 photomontages of Heartfield are published in. To the invitation of the International Office of the Revolutionary Artists, John Heartfield goes to Soviet Union in April 1931. He gives conferences for printers and photomonteurs to the Polygraphic Institute of Moscow. He gives workshops and conferences on the techniques of the assembly to soldiers of the Red Army and to peasants of the kolkhozes. From November 1931 to January 1932, a great retrospective gathering 300 of its works is held in Moscow. It is the first individual exposure of a foreign artist in Soviet Union. Heartfield arrives to Soviet Union at the time when the role, the means, the forms and the techniques of graphic agitation are discussed impassioned. In February 1931, the Central Committee of the PCUS had approved a resolution on agitation and graphic propaganda. The production of posters of all the country has been just reorganized in only one Report writing for Art (ISOGIS). The fight is sometimes very polemical between the artists, the critics, the writers and the organizations which are occupied of plastic agitprop. The central questions are: Which is the relationship between the contents and the form. The art of the agitprop must it especially popularize the watchwords or must it initially contribute to analyze and include/understand reality. The photomontages of Heartfield are found thus in the center of the discussion. April 5 1931 is held the first session of the Soviet of the new publisher of State. Twenty-two posters recently carried out are submitted to the workmen. The two artists belong to the October group. Founded in 1928, it gathered all the principal constructivists: the architects Mr. Kloutsis and El Lissitsky and well of others still. In 1931, October counts some 500 members and becomes thus the principal "competitor" of the association of the realistic painters, the Association of the Artists of Russia Révolutionnaire - AARR (or AKhRR). The October group had already exposed in Berlin in October 1930, in collaboration with the Association of the revolutionary plastic Artists of Germany - ARBKD, with which Heartfield collaborated. They had worked together in the election campaign of the KPD in September 1930. It was them which had attached two sheep, during one week, with the door of Brandebourg in Berlin with the sign "We vote national-Socialist". Between the hands of people who can use it, this means can be a genuine weapon for the fight, education and the construction. The photomontage can become a true art of mass because the photomontor does not need particular capacity of painted or of graphic designer - it is enough to know to handle the chisel. The capacity of appreciation and the direction of tracking are the principal characteristics of the photomontor. During his tour in Germany in January-February 1931, Serge Tretiakov entirely supports this point of view and launches the name of "operativism there". He must act on the life of the masses: the thought and directions, the fight and work, all aspects of the everyday life. The best means of creating this new form of language is to help the masses to develop it themselves. The operativists are attacked de.toutes.parts. In 1928, an important debate had been carried out in the group of the Soviet constructivists, in their review. In November 1928, Rodtchenko launches "a warning": "We must launch a news (not of panic. We must give the starting signal and acquire the direction to express our new socialist assets using photography. What must be photographed, all photoclub amateur knows it, but how it should be done, little know it.) We are constrained to test. We fight the photography which imitates painting, the drawing, the watercolour." In December, Boris Kouchner Retorts: "Rodtchenko says that most important is the way in which a factory is fixed by photography. The revolutionary aspect lies precisely in the great difference with the other factories which are built apart from our borders. The ` question how construire' or ` how photographier' comes only in second place, Serge Tretiakov gives the point of view of the drafting. "As well in the point of view of Rodtchenko as in the response of Kouchner, one finds the same fault. The functional starting point is left on side. At side of the questions what and how (famous contents and form), there is still a principal element: why. This question makes work an object, an instrument for a target effect. From a functionalist point of view, to work means that the methods and the materials employed are subordinated to a well defined objective. If one leaves that on side, one can discuss without end, but that does not carry out to nothing (...) One must start with the questions of utility for photography: scientific photo-information, photo-illustration, photographs, technical photographs, photographs post (...) If the experiment of the objective is dissociated, one fall easily into the artisticity. Kouchner, on the other hand, reduced all the problem with the communication of new facts. Little imports to him how these facts are presented. But photography is not only one observation, it must also explain. One cannot solve the problem while turning over easily to the basic position that the ' quoi' is more important than the ' comment'. (...) If photography simply limits to registrer facts without organizing them nor to denounce them, one runs the risk to reduce them to a purely technical specialization. This point of fight, Heartfield and its brother had already solved it from the very start of the Twenties with the profit of a "functionalism". Here also, the very functional book of company had been an important practical school. From April 13 at May 4, 1931, the new publisher of State Soviet ISOGIS organizes the first great discussion on the production of posters. The photomontages are in the center of the debate. At Heartfield, the assembled parts are based one in the other until forming a new photographic unit. The structure of the image is always homogeneous, with soft transitions. Very often, it is not seen immediately that it acts of a joining or a "faking". It would be believed that it acts of a new "photograph". Certain photomontages of Heartfield are also carried out, mainly, by catches of sight put in scene. It is, to some extent, of the photographs of a play. The man is always recognizable, in central position in the assemblies of Heartfield. The Soviets use strong contrasts in the cuts, the forms, the colors and the composition. There are acute sides and sudden transitions between the parts of the assemblies. The composition of the fields and the colors is central at the Soviets. The new techniques and architecture, the industrial premises are in point of test card. Heartfield, as for him, passed by the school of the creation of covers of books, which must hang the glance and make pass something. It became increasingly sparing in the number of elements which it associates in a photomontage. It discovered the force of the effect of a new "photograph" created. The Soviet assemblers come from the constructivism where the search for a new language of the form occupies a central place. In 1919, Kloutsis for the first time had cut out of the photographs, him also, and had used them as elements of constructivists compositions, to replace spaces of color. The "composition", the construction of the image as image always remains, at the Soviet photomonteurs, the principal concern. The force, enthusiasm must come from the composition. The photographs used remain subordinate. Often, they are stuck of through and not according to the logical and realistic prospect. Heartfield initially seeks a language and a method to draw and maintain the attention, to make pass an idea, a message. As it was the practice in Soviet Union, the discussion is held in a very sharp way and in public. In practice, the differences and contradictions had become much more obvious. October 8, a discussion takes place at the Institute of Literature, the Art schools and Linguistics of the Communist Academy of Moscow. Kloutsis is criticized for the impersonal presentation of people in its assemblies. "On the emotional level, they do not have an effect. The masses cannot be identified with them and are not mobilized ". During the discussion, the photomontages of Heartfield are used like counterexample. It is especially Tagirov, a friend of Goutnov which is also member of October, which regards also the work of Heartfield as a model. "We must show the German art of agitation. Heartfield must come each year for a few months to the Polygraphic Institute and make share of its experiments in photomontage. We must certainly use his knowledge and its experiment. It swears that it "does not lose sight of the fact the right composition". Kloutsis has also difficulties with the language metaphorical and allegorical of Heartfield, which often leaves the set of mot., the review of the October group, works of Heartfield and Kloutsis are often confronted. (What does not prevent them from remaining good friends.) The work of Heartfield is appreciated for "its exceptional simplicity, its exactitude and its univocity", the composition is quoted in example. "Heartfield uses only the elementary and essential elements photographic and plastic to give to the idea a condensed expression. It is sparing elements of observation and concentrates the means of expression." Vis-a-vis to that, the commentator explains that the photomontages of Kloutsis are overloaded assembled "mechanical" details and in>