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	Art - John Heartfield
		John Heartfield won the first prize at the Werkbund Ausstellung in Köln in 1914 and took lessons at the Kunstgewerbeschule in Berlin.
		John Heartfield was the designer of the covers and developed his own refined style.
		Heartfield was one of the cofounders of the Kommunistische Partei Deutschlands and the dadaist in Berlin.
	home.hccnet.nl /arnoud.de.bruijn/html/art/ArtHeartfield.htm (431 words)

	The Madonna of the Future
		Heartfield of course at times did a certain amount of hectoring in endeavoring to get the readers of AIZ to vote a certain way or to protest what was happening in Germany.
		Heartfield appreciated, as great artistic polemicists always have, that in order to be politically effective art has to be public, which means that the museum is just the wrong place for it.
		Heartfield's response was a masterful montage in AIZ that depicts the exhibition, in which a good many of his most biting images are shown, while, in the blank spaces left by the removed ones, the viewer sees the walls of a prison and a man with head wounds lying bleeding in the street.
	partners.nytimes.com /books/first/d/danto-madonna.html (2010 words)

	John Heartfield - Wikipedia, the free encyclopedia
		John Heartfield (June 19, 1891 - April 26, 1968) is the anglicized name of the German photomontage artist Helmut Herzfeld.
		In 1918 Heartfield began participating in the Berlin Dada scene and the Communist Party of Germany.
		In 1933, after the National Socialists came to power in Germany, Heartfield relocated to Czechoslovakia where he continued his Photomontage work for the AIZ - which continued publication in exile, and in 1938, fearing an invasion by Germany, Heartfield left for England.
	en.wikipedia.org /wiki/John_Heartfield (410 words)

	Assignment3
		Heartfield never stopped trying to enlighten the public to the humor and satires of politics and war, until he past away in 1968 under Stalin's 'socialist realism' in East Berlin.
		John Heartfield was an artist who brought an avenue for citizens to walk down when all other streets were closed.
		John Heartfield interested and appealed to me for all these reasons, but more importantly because he took something so simple and raw and made it into priceless works of art that changed the way people protest, write cartoons, and preach ideals of today.
	www.personal.psu.edu /students/b/j/bjk218/assignment3.html (761 words)

	John Heartfield: Definition and Links by Encyclopedian.com - All about John Heartfield
		John Heartfield (June 19, 1891 - April 26, 1968) is the anglicised name of the German photomontage artist Helmut Herzfeld, who ruthlessly satirised Adolf Hitler and the Nazis.
		Heartfield became progressively more engaged in photomontage as a form of political and artistic representation in the following years.
		In 1938, fearing an invasion of Czechoslovakia, Heartfield fled to England.
	www.encyclopedian.com /jo/John-Heartfield.html (189 words)

	John Heartfield 1891 - 1968 (Site not responding. Last check: 2007-10-21)
		Born Helmut Herzfeld in 1891, he anglicised his name to John Heartfield in response to German anglophobia during World War I. He was the first artist to use photomontage (combining whole or parts of photographs with text to communicate a new message) as a political weapon: "New political problems demand new means of propaganda.
		The exhibition includes a continuous showing of the documentary 'Zygosis - John Heartfield and the Political Image', by Gorilla Tapes, where scratch editing, chroma key, paintbox and 3D computer techniques are used to animate images of Hitler's speeches so that his hand gestures become comic demonstrations of chicken slaughter and toothbrush abuse.
		When Hitler took power in 1933 Heartfield was forced into exile, first of all to Prague, where he and his brother transfered the Malik publishing house, and John continued to work for AIZ.
	www.geocities.com /Hollywood/Academy/6354/heart.html (861 words)

	Cut And Paste: John Heartfield (Site not responding. Last check: 2007-10-21)
		Of the Berlin group, John Heartfield remains the best known and revered as a result of his single-minded devotion to anti-Nazi political activism.
		For Heartfield the definition of "photomontage" was wider than for most, insisting that it should include the single photo with caption, since text and image interacted with each other in a similar way to multiple images.
		Heartfield's use of captions was, and perhaps still is, unsurpassed.
	homepage.ntlworld.com /davepalmer/cutandpaste/heartfield.html (325 words)

	John Heartfield - International Center Of Photography
		In spring 2005, the ICP Acquisitions Committee allocated the purchase of sixty-three John Heartfield photomontages published in the German illustrated newspapers Arbeiter Illustrierte Zeitung and Volks Illustriete from 1930 to 1937.
		Heartfield's satirical photomontages on Germany's political climate and international events are complex works about war and peace, and the links he perceived between fascism, business, and war.
		Heartfield creates meaning through the relationship between the text and the photographic fragments, between the images and the social comment, and between the issues raised in the photomontages and the perspectives of the articles in the magazine.
	www.icp.org /site/c.dnJGKJNsFqG/b.868943/k.9CFD/John_Heartfield.htm (295 words)

	Part Two: 2.0
		John Heartfield's anti-fascist photomontages produced for the German Communist Party's (KPD) AIZ (Arbeiter-Illustrierte-Zeitung - Workers Illustrated News) magazine are seen by many as the pinnacle of an effective avant-gardist critical intervention in social reality.
		Heartfield's use of allegories, reliance on word play, his exemplary satirical edge and his almost organic assimilation of elements into a near seamless whole ensured the visual success of the work.
		Heartfield also fought the Nazis on the cultural terrain which was all important in establishing ideological hegemony.
	www.intentional.co.uk /glass/thesis/parttwoa.htm (1432 words)

	Heartfield (Site not responding. Last check: 2007-10-21)
		The world premiere of Kenneth Vega's musical, HEARTFIELD, about the life and work of the subversive German photomontage artist, John Heartfield, and his "One Man's War Against Hitler," was presented by the Towson University MFA in Theatre in April and May, 2000, directed by Kate Chisholm.
		HEARTFIELD traces John Heartfield's life and work from World War I through his death in 1968; from his home in Berlin to his exile in Prague and London, and his return to East Germany.
		Heartfield took familiar propaganda, images and slogans, cut them apart and rearranged them to force people to look at Hitler and the Third Reich in a more critical way.
	members.aol.com /hiddensky/heartfield.html (263 words)

	Artist Mark Vallen's essay on John Heartfield
		Though Heartfield was not an Expressionist painter, he frequented their circles and exhibited his photomontage works at the Novembergruppe exhibition in Berlin, 1929.
		Heartfield wisely fled to London England where he lived in exile until returning to Germany in 1950.
		John Heartfield died in East Germany in 1968, but he left behind a huge body of work.
	www.art-for-a-change.com /Express/ex12.htm (442 words)

	Ars Libri, Ltd.
		Heartfield's photomontages in these publications are among the most brilliant and influential examples of political satire of the century.
		Altogether, 28 of the issues of "AIZ" are complete (in addition to the Heartfield photomontage); while in the group of "VI," 3 of the issues are complete (the remainder being partial issues or, in 4 cases, the individual photomontage pages alone).
		Heartfield’s brilliantly colored binding is among the masterpieces of the twentieth-century avant-garde book design.
	www.arslibri.com /cat130w14.htm (1341 words)

	John Heartfield
		Heartfield returned to Germany in 1950 where he designed scenery and posters for the Berliner Ensemble and the Deutsches Theater in Berlin.
		Toward the end of the war, several men in Germany (Grosz, Heartfield, Ernst) were led through the critique of painting to a spirit which was quite different from the Cubists, who pasted a piece of newspaper on a matchbox in the middle of the picture to give them a foothold in reality.
		When John Heartfield and I invented photomontage in my South End studio at five o'clock on a May morning in 1916, neither of us had any inkling of its great possibilities, nor of the thorny yet successful road it was to take.
	www.spartacus.schoolnet.co.uk /FWWheartfield.htm (929 words)

	Capturing Chaos: The Photomontages of John Heartfield - Darwin Marable
		However, it was John Heartfield (1891-1968-he changed his name from Helmut Herzfeld as a form of protest -who, after inventing photomontage, became the artist-activist and made his art a revolutionary act.
		Heartfield would go to great lengths to stage a photograph, posing friends and models and employing carpenters or other craftsmen to build props.
		He involved himself totally in the process of construction by pasting and assembling the components together and using a brush or air brush to complete the image.
	www.worldandi.com /specialreport/1994/august/Sa11554.htm (299 words)

	MoMA.org \| The Collection \| George Grosz. "The Convict": Monteur John Heartfield after Franz Jung's Attempt ...
		These pictorial devices convey the satirical ideology that Grosz shared with his subject, John Heartfield, a friend, a fellow Berlin Dada artist, and a frequent collaborator.
		Heartfield is depicted as bald, grim-faced, and with clenched fists and a machine heart—the personification of the politically defiant anti-authoritarian, which was a stance that infused Heartfield's own art.
		In fact, Heartfield called himself a monteur-dada, rather than an artist, and conceived of his own assembled works as images intended only for mass reproduction in magazines and on book covers and posters.
	www.moma.org /collection/browse_results.php?object_id=35058 (306 words)

	john heartfield : post world war II (Site not responding. Last check: 2007-10-21)
		Heartfield remained in England until 1950, at which time he returned to East Berlin.
		Heartfield continued to produce photomontages for publication and exhibit until his death in 1968.
		In the Soviet Union, Alexander Shitomirsky produced satirical anti-Nazi photomontages that were close in style to Heartfield's.
	www.lineargirl.com /heartfield/postww2.html (150 words)

	WORLD WAR TWO Three Select Bibliographies (Site not responding. Last check: 2007-10-21)
		Heartfield (1891-1968), born Helmut Hertzvelt, was to become the most important artist working with photomontage this century.
		There was an upsurge of left-wing activity in Germany during the decade and Heartfield began producing images for A. Z., a picture magazine aimed at the radical working class and owned by a Socialist entrepreneur.
		Heartfield returned to East Germany in 1950 and worked in East Berlin at the Berliner Ensemble, the theatre especially created for the playwright Bertold Brecht.
	www.wcml.org.uk /holdings/ww2biblio.htm (1937 words)

	Written Voices Radio
		Though of course it might be possible to paint someone cutting the head off a painting of a man, such a work would be puzzling, and in any case could not refer to its own processes, as the 1929 photomontage refers to the practice of snipping, arranging, and pasting photographic images in evocative juxtaposition.
		So the use of holographic images in the montage of Heartfield cutting off the head of Zörgiebel, like a latter-day Judith with the head of Holofernes, was not to make an end run around painting.
		The metaphor is among the favored tropes of the rhetorician, whose charge is to move minds and change or arouse feelings by means of figures of speech, encouraging connections of the kind only rhetoric--or art--is capable of.
	www.writtenvoices.com /titlepageexcerpt.asp?ISBN=0374106134 (2124 words)

	John Heartfield Fotomontage
		John Heartfield (alias Helmut Herzefelde, 1891-1968), painter, advertisement-drawer, typograph, layouter, editor, book-illustrator, filmmaker, cartoonist, set designer, as well known as photomonteur: " If I collect photos and compare them carefully, I am able to produce montages with inflammatory propagandistic effects..." (Heartfield 1931).
		John Heartfield propagates a new type of art-producer: the intervening "operating" artist, who takes position politically, in that he reacts to current events.
		John Heartfield as an operating artist, for example at the Reichstag Fire-process: Four weeks after the takeover by the Nazis, at February 27th 1933, the Reichstag-building, symbol of the German Empire, stood in flames.
	www.grg23-alterlaa.ac.at /human_rights/heartfield/heartfield.html (580 words)

	International Fine Print Dealers Association (IFPDA)
		John Heartfield was born in Berlin- Schmargendorf, Germany as Helmut Herzfeld.
		In 1916, as Germany began using an offensive nationalistic slogan, Helmut changed his name to John Heartfield, to protest the war.
		Heartfield used collage work as a political medium, using images from the political journals of the day.
	www.printdealers.com /artist_template.cfm?id=646 (313 words)

	Read about John Heartfield at WorldVillage Encyclopedia. Research John Heartfield and learn about John Heartfield here! (Site not responding. Last check: 2007-10-21)
		John Heartfield (June 19, 1891 - April 26, 1968) is the anglicised name of the German photomontage artist Helmut Herzfeld.
		Incubus was also heavily inspired by Heartfield's imagery.
		John Heartfield and the Free German League of Culture in Great Britain (http://www.wcml.org.uk/holdings/ww2biblio.htm#johnh)
	encyclopedia.worldvillage.com /s/b/John_Heartfield (192 words)

	Leonardo Digital Reviews (Site not responding. Last check: 2007-10-21)
		They were outrageously blatant distortions, made by juxtaposing bits of unrelated photographs, the cut-and-paste equivalents of caricature and editorial cartoons (although, in terms of Heartfield's work, it is probably better to think of them as editorial assaults or assassinations, which he does with no shortage of humor).
		To my knowledge, this is the only film about John Heartfield; it is also greatly interesting, largely because of the way it was made.
		It often feels as if it were edited by John Heartfield himself, although of course that is not literally true.
	mitpress2.mit.edu /e-journals/Leonardo/reviews/sept2003/Zygosis_behrens.html (392 words)

	The Sources Of Laibach Kunst (Site not responding. Last check: 2007-10-21)
		The swastika made out of four axes was intitially a source of controversy for Laibach, until it was realised as the work of the famous German anti-nazi photomontage artist John Heartfield.
		John Heartfield was born Helmut Herzfeld in Munich,1891.
		The Dada movement ended in the early 1920s, meanwhile Heartfield created photomontage bookcovers for the Malik Verlag, a Berlin left-wing publishing house.
	www.gla.ac.uk /~dc4w/laibach/heartfield.html (223 words)

	Archive (Site not responding. Last check: 2007-10-21)
		John Heartfield satirized in a far-from-gentle manner the contradictions and injustices of German society in this crucial transitional period.
		Some of the Berlin participants, like Grosz, Heartfield, and Wieland Herzfelde, lost patience with the apparent lack of seriousness on the part of their colleagues and devoted themselves to more orthodox modes of political action and propaganda.
		Johannes Baargeld ("John Cash"--a pseudonym, of course) were the central figures in a movement which focused on provocative, collaborative artworks.
	www.lib.uiowa.edu /dada/archive.html (4227 words)

	The Space: Montage - Must You See The Joins?
		One of Heartfield's most effective montages was made in 1932 - the year before the Nazi party came to power - and shows Hitler giving his own personal bent arm 'Heil' salute while a banker stands behind slipping a wad of 1000 mark notes into his open hand.
		Doug Kahn, who teaches sound at the University of Technology in Sydney, thinks Heartfield's most intriguing work came when he deviated, slightly, from the official Communist Party line of the time, to suggest that members of the German proletariat might be complicit in the Nazi delusion.
		It is Heartfield's spin on a famous speech by Goering telling the German people that 'iron has always made an empire strong, butter and lard only make people fat.' Maybe Heartfield was suggesting too many Germans were enthusiastically swallowing Nazi propaganda, something the Communist Party thought, or hoped, was impossible.
	www.abc.net.au /arts/visual/stories/montage/page4.htm (281 words)

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