Gertje utley biography of williams
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Gertje Utley, May 20, 2001
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File — Box: 12, Folder: 98
Scope skull Contents simulated the Records
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Gertje Utley
My talk about art and politics in Post World War II Europe was inspired by the presence in this museum of the exhibition “Let us face the future,” which shows British art from the end of the Second World War to the late nineteen sixties. But, as I have discovered and as I will explain, British art is not the best example, as the presence of political art was much less prevalent there than in other European countries. And so I have decided to throw my net over a rather wide territory and cover England as well as France, Germany, and to some degree Italy. I do however, not intend to cover Spain in this, as Spain was not a participant in WWII, and all of you who live here know much more about this topic than I do.
As it is, my topic is vast and complex. But it is this complexity that makes it interesting. I have focused on art that can in one way or another be called political in the wider sense. And I concentrate in particular on the ways in which the different political situations in England, France and Germany during the war and in the immediate postwar period reflected on the national art scene. Consequently my talk is just an overview; it will per force neglect a lot of subtleties.
I can not stress enough how important a role art played in the propagan
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A totally different kind of realism was practiced by the group of four artists, known as the Beaux Arts quartet, or – more colloquially -- the “kitchen sink painters”. [21] They claimed to share the interests of the Socialist Realist painters in France and Italy. Yet few of them were really political or fulfilled Berger’s demand for a socially relevant art. [22]
Paolozzi, Meet the People 1948, from Ten Collages from BUNK
For the generation of painters that emerged in the 60s it was no longer relevant to agonize about the last war. They grew tired of the “iconography of despair,” which appeared to them, as one artist said, like eternally scratching the old wounds. [23] American art seemed refreshingly like a message of hope and optimism. They adopted bright colors to express their enthusiastic visions of America’s consumer society. Artists such as Eduardo Paolozzi, the photographer Nigel Henderson, Richard and Terry Hamilton, David Hockney, and William Turnbull, showed their fascination with American mass culture, by integrating advertizing imagery, cutouts from American magazines, into their art. Because of their use of found imagery, the group, who met at the newly created ICA in London under the name the Independent Group, was often spoken of as forerunners of Po