Visual Culture: Painting, Sculpture, and Graphic Arts since World War II

2014 ◽  
Keyword(s):  
World War Ii ◽  
Visual Culture ◽  
World War ◽  
Graphic Arts

scholarly journals The Nanking Atrocity: Still and Moving Images 1937–1944

2014 ◽  
Vol 1 (1) ◽  
pp. 51-67
Author(s):  
Gary Evans
Keyword(s):  
World War Ii ◽  
Public Opinion ◽  
Visual Culture ◽  
Historical Context ◽  
Visual Media ◽  
World War ◽  
Moving Images ◽  
Mass Public ◽  
Racial Context ◽  
Film Clips

This manuscript investigates the facts of publication of the images of the Nanking Atrocity (December 1937–January 1938) in <em>LIFE </em>and <em>LOOK</em> magazines, two widely read United States publications, as well as the Nanking atrocity film clips that circulated to millions more in American and Canadian newsreels some years later. The publishers of these images were continuing the art of manipulation of public opinion through multimodal visual media, aiming them especially at the less educated mass public. The text attempts to describe these brutal images in their historical context. Viewing and understanding the underlying racial context and emotive impact of these images may be useful adjuncts to future students of World War II. If it is difficult to assert how much these severe images changed public opinion, one can appreciate how the emerging visual culture was transforming the way that modern societies communicate with and direct their citizens' thoughts.

The Evolution of Comics Art Exhibitions in the United States, 1930–1951

2020 ◽  
pp. 66-87
Author(s):  
Kim A. Munson
Keyword(s):  
United States ◽  
World War Ii ◽  
The United States ◽  
Comic Strip ◽  
Metropolitan Museum ◽  
World War ◽  
Art Exhibitions ◽  
Graphic Arts ◽  
Metropolitan Museum Of Art ◽  
Walt Disney

This 2018 essay by art historian Kim A. Munson shares the details of her research on exhibits of original comic art in U.S. museums and galleries from 1930-1954.  This chapter discusses several shows of the 1930’s from Thomas Nast at the Whitney (1932) to the display of the first Walt Disney animation cel purchased by the Metropolitan Museum of Art (1939). This chapter discusses World War II exhibits at the Metropolitan. This chapter discusses The Comic Strip: Its Ancient and Honorable Lineage and Present Significance, organized for the American Institute of Graphic Arts by Jessie Gillespie Willing (AIGA, 1942), which is a touring exhibit with historical works, comics, and comic books. Milton Caniff was a pioneer and advocate of comics exhibits representing himself (The Art of Terry and the Pirates 1939-1946) and  later with the newly formed National Cartoonist Society organizing many shows including 20,000 Years of Comics (1949 Savings Bond Tour), and American Cartooning (Met Museum, 1951).

scholarly journals Interpreting Bert Hardy's photographic collection at the Art Gallery of Ontario

2021 ◽  
Author(s):  
Guanchen Yu
Keyword(s):  
World War Ii ◽  
Visual Culture ◽  
British Society ◽  
Full Description ◽  
World War ◽  
Art Gallery ◽  
The Third ◽  
Art Gallery Of Ontario ◽  
Post War ◽  
The Relationship

This subject of this thesis is a collection of Bert Hardy photographs donated to the Art Gallery of Ontario (AGO) in 2007. Hardy (1913-1995), worked as a photojournalist for Picture Post from 1940 - 1957 during which time he covered many aspects of British life after World War II. Hardy’s contribution to British visual culture is traced in three chapters beginning with a literature survey that covers the context of his work in post-war British society. The second chapter gives a full description of the collection and further analyzes the style of Hardy’s photographs. The third chapter examines the history Picture Post and the context in which its editors worked. Looking at the the relationship between photographers and editors in the picture press, it examines how Stefan Lorant and Tom Hopkinson edited and captioned Bert Hardy’s photographs for use in the Picture Post.

scholarly journals Interpreting Bert Hardy's photographic collection at the Art Gallery of Ontario

2021 ◽  
Author(s):  
Guanchen Yu
Keyword(s):  
World War Ii ◽  
Visual Culture ◽  
British Society ◽  
Full Description ◽  
World War ◽  
Art Gallery ◽  
The Third ◽  
Art Gallery Of Ontario ◽  
Post War ◽  
The Relationship

This subject of this thesis is a collection of Bert Hardy photographs donated to the Art Gallery of Ontario (AGO) in 2007. Hardy (1913-1995), worked as a photojournalist for Picture Post from 1940 - 1957 during which time he covered many aspects of British life after World War II. Hardy’s contribution to British visual culture is traced in three chapters beginning with a literature survey that covers the context of his work in post-war British society. The second chapter gives a full description of the collection and further analyzes the style of Hardy’s photographs. The third chapter examines the history Picture Post and the context in which its editors worked. Looking at the the relationship between photographers and editors in the picture press, it examines how Stefan Lorant and Tom Hopkinson edited and captioned Bert Hardy’s photographs for use in the Picture Post.

scholarly journals The Nanking Atrocity: Still and Moving Images 1937–1944

2014 ◽  
Vol 2 (2) ◽  
pp. 55-71
Author(s):  
Gary Evans
Keyword(s):  
World War Ii ◽  
Public Opinion ◽  
Visual Culture ◽  
Historical Context ◽  
Visual Media ◽  
World War ◽  
Moving Images ◽  
Mass Public ◽  
Racial Context ◽  
Film Clips

This manuscript investigates the facts of publication of the images of the Nanking Atrocity (December 1937–January 1938) in LIFE and LOOK magazines, two widely read United States publications, as well as the Nanking atrocity film clips that circulated to millions more in American and Canadian newsreels some years later. The publishers of these images were continuing the art of manipulation of public opinion through multimodal visual media, aiming them especially at the less educated mass public. The text attempts to describe these brutal images in their historical context. Viewing and understanding the underlying racial context and emotive impact of these images may be useful adjuncts to future students of World War II. If it is difficult to assert how much these severe images changed public opinion, one can appreciate how the emerging visual culture was transforming the way that modern societies communicate with and direct their citizens' thoughts.

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