Bibliography

Bibliography covering all posts to this blog.


Books;

Abbeydale Press, 2001, Handbook of Word War II, An Illustrated Chronicle of The Struggle for Victory

Aston, M. Thames and Hudson, The Panorama of the Renaissance

Campbell, A. ILEX, 2012, Inspirational post cards for hard times. We Can Do It!

Claibourne, R. and the Editors of Time-Life books, The Emergence of Man. The Birth of Writing

Kynaston, D. 2007, Austerity Britain

Kynaston, D. 2009, Family Britain 1951-57

Malpas, J. 1997, Movements In Modern Art, Realism. 

Milena Magnano, 2012, Leonardo, Prestel

Murray, P & L. The Art of the Renaissance

Orminston, R.Foreword by Gary Sheffield. First World War Posters

Osterwold, T. Taschen, 2007, Pop Art

Phaidon, 1997, The Photo Book 

Phaidon Press Limited, 2007, Raphael

Spike, J.T. 2012, Young Michelangelo

Timmers, M. The Power of the Poster

The institution of Arts. Citezens and Kings, Portraits in the age of revolution 1760-1830

Websites;


http://www.bbc.co.uk/photography/genius/gallery/lange.shtml

http://www.allworldwars.com/Crimean-War-Photographs-by-Roger-Fenton-1855.html

http://www.bl.uk/onlinegallery/sacredtexts/lindisfarne.html

http://www.britannica.com/EBchecked/media/4224/Interlace-patterns-of-the-initial-page-of-the-Gospel-According?topicId=341885

http://www.eccentricbliss.com/tag/book-of-kells/

http://www.missgien.net/celtic/art.html

http://english.islammessage.com/ArticleDetails.aspx?articleId=1075

http://www.metmuseum.org/toah/hd/leon/hd_leon.htm

http://saintpetersbasilica.org/Altars/Pieta/Pieta.htm

http://www.rome.info/michelangelo/pieta/

http://smarthistory.khanacademy.org/Michelangelo-David.html

http://baroqueart.tumblr.com/

http://www.britannica.com/EBchecked/topic/53809/Baroque-period

http://www.absolutefacts.com/arts/baroque-period/rembrandt.htm

http://wadingacross.wordpress.com/islam/quranic-troubles/

http://artnouveaustyle.tumblr.com/archive

http://blog.the-dot.co.uk/design/soviet-russia-propaganda-posters/

http://www.all-about-photo.com/photographer.php?name=Chris%20Killip&id=264&popupimage=4

http://www.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_10_VForm&ERID=24KL5357TF

Videos:

https://www.youtube.com/watch?v=keCUMHhsvUQ&feature=player_embedded&noredirect=1

https://www.youtube.com/watch?v=O34YVQsFiWY

https://www.youtube.com/watch?v=keCUMHhsvUQ&feature=player_embedded

http://www.bbc.co.uk/iplayer/episode/b03pn6xz/Italy_Unpacked_Series_2_In_the_Footsteps_of_the_Poets/

http://www.youtube.com/watch?v=wRHNOtYRTH4

http://www.youtube.com/watch?v=-8ChAfzWaYg

https://www.youtube.com/watch?v=-oXAekrYytA

1970's - Current Times.

70s, 80s, 90s, Present time.

Jamie Reid and John Varnum,
'Never Mind the Bollocks', UK, 1977

Original artwork advertising the
album by the Sex Pistols. 

Power of the Poster 
Margaret Timmers
page 69 




"The emergence of mass politics not only expianed the flood of political propaganda printed in the las decades of the nineteenth century, but also the forms that many of these posters took."

Saatchi and Saatchi Advertising
'Labour isn't working', UK, 1979.
Published by the Conservative Party.
Power of the Poster 
Margaret Timmers
Page 104 

Photography

Chris Killip

A photographer who is considered to have captured the 1980's in a rather interesting light.  With current political disagreement and disruption in the country, chris fillip worked on taking a eerie of images called 'another country'. These images opposed all that the current political party who was in charge at this time stood for. 
With Margret Thatcher seeming to be saying the country was all fine and well, Chris Killip sure showed the reality of the damage the conservative government was doing to the north east of England through his photography. 


Another Country

http://www.all-about-photo.com/photographer.php?name=Chris%20Killip&id=264&popupimage=4

Angelic Upstarts at a Miners’ Benefit Dance at the Barbary Coast Club, Sunderland, Wearside, 1984

Bever, Skinningrove, North Yorkshire, 1980

Crabs and People, Skinningrove, North Yorkshire © Chris Killip, 1981

BRUSSELS SPROUTS, GATESHEAD, TYNESIDE 1977

TRUE LOVE WALL, GATESHEAD TOWN CENTER, TYNESIDE 1975

QUEUE DURING "THE BREAD STRIKE", NEWCASTLE, TYNESIDE 1977

MEN LEAVING SWANN HUNTER SHIPYARD, WALLSEND, TYNESIDE 1977

His black and white images are raw and brings the viewer to reality. It is easy to imagine the response these images would have got in a time when politics had the country divided. For me i feel a series of images like these really show the power and effect photography have. 

Martin Parr

Another photographer who during this same era had political reasoning behind a series of his images. Photography from the 70's right through to now. A series of images named 'Last Resort' by Martin Parr work in the same way of Chris Killip's by showing the shocking truth of the state and reality of Britain's working class during the 1980's.

http://www.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_10_VForm&ERID=24KL5357TF

Last Resort


                                  GB. England. New Brighton. From 'The Last Resort'. 1983-85.

Martin Parr Current Work

Even in Martin Parrs recent work its clear that he is still as interested in British as culture as what he was 20-30 years ago. A lot of these images appear to have similar themes to the body of work created in the 1980's. By photographing every day work class people and families seems to make such engaging and interesting images. A lot of his images have a sort of humour within them, i think this is because the images are relatable to the viewer, and really do capture the 'typical' not so glamorous side of things that we would associate with Britain.

1940s-1950s

Second World War


Much like we saw in the first world war, the second world war also used posters as propaganda. Many of the most well known posters from the second world war were ones which were aimed at those living at home such as the 'Grow your own' and 'Dig for victory' posters which were based around the rationing of the second world war.

Here is a mixture of both British and American World War II posters;

AL PARKER GROW YOUR OWN, CAN YOUR OWN

USA, 1943

J. HOWARD MILLER WE CAN DO IT!

USA, 1942

ARTIST UNKNOWN FREEDOM IS IN PERIL

1939, UK

ZERO (AKA HANS SCHLEGER) GROW YOUR OWN FOOD

1939-1945, UK

USE IT UP

1943, USA

We Can Do It

Inspirational post cards for hard times

ILEX

A lot of the American posters remind me of pop art style even though this was before that era. As can be seen from these examples, propaganda was heavily used to influence woman back home. I feel a clever technique used for the posters aimed at women is not a way of scaring them into doing something, which is something the technique found in war posters aimed at men. These posters appear to be relatable to woman, for example the first one where a child is helping her mother put food into jars. The posters are vibrant and mostly give off a positive vibe which one would guess would have worked well in getting people on board in doing what the country wanted. 

1950's - 1960's

Consumer Cultures and Pop Art.



"pop culture and lifestyle became closely intertwined in the sixties... The subject matter, forms and media of Pop art reveal the essential characteristics of a cultural atmosphere and way of life we associate with the sixties."

"Sometimes i think that extreme beauty must be absolutely humourless. But then i think of Marylin Monroe and she had the best fun lines." - Andy Warhol

Andy Warhol 
The Twenty-Five Marilyns, 1962

"Andy warhol's series of Marilyns, produced in 1962 after her death, reveal the inauthenticity of her image by repeating her face - or her lips - in rows."

POP ART, Tilamn Osterwold, page 12

This is my own photograph of  Andy Warhol's,  Ten Lizes, 1963. I took this image during my visit to Paris in 2012 while in the pompidou centre. A piece which was created by Andy Warhol in the same way in which he created his Marilyn Monroe piece. 



Consumer Culture, Pop art. 

Pop Art, Tilamn Osterwold, page 29

Andy Warhol Close Cover before Striking (Pepsi Cola)1962

Pop Art, Tilamn Osterwold, page 31

Andy Warhol Green Cola Bottles, 1962

Using Art to place an emphasis on the consumer culture. During these times there was an obsession with money. 

"Artists soon turned their attention to looking behind the facade of this much hyped symbol of the times, and exposed it as inflationary and average."

Pop Art, Tilamn Osterwold, page 34

Pop Art in Britain

"British Pop Art arose out of a new understanding of contemporary life. It was intellectual, interdisciplinary and programmatic in character. Detailed study shows that its emergence as an artistic phenomenon was gradual, developing cut of the wider cultural context in Britain at the time."

Again much like discovered through the research into more American based pop art it appears that in britain too, pop art came as a result of social  and cultural change and development in the country. 

Richard Hamilton

Just what is it that makes todays homes so different, soappealing? 1956

Pop Art Tilman Osterword, page 64

Although its claimed that Americanism was influencing Europe at this time i think it is interesting to look at the vast differenced between American and British Pop Art.

1920 Russia.

Russian Revolution, Soviet Russia. 

"Accompanying a new outlook on politics and economy, there had to be renewal and change in other areas too, including the way the new state presented itself and its ideas.

The revolution coincided with a period of many radically different art forms in western culture, dada, futurism, constructivism, surrealism and so on. Especially in its early years, propaganda posters produced in Soviet Russia were influenced by such movements.

Though the more experimental looks eventually gave way to designs more akin to what could be seen in other western countries, Soviet propaganda still retained a look of its own, beyond the presence of cyrillic lettering." 

http://blog.the-dot.co.uk/design/soviet-russia-propaganda-posters/

1920

1920's

Liberated woman – build up socialism! 1926

" The poster was a means by which artists could commit themselves to the Revolution."

"The photograph was favoured because its mechanical character suggested modernity, and its reproducibility suggested democracy." The power of the poster, Margaret Timmers, page 118

My personal feelings and observations on the posters seem to give across the feeling of anger. Notice the repeated red colours in every poster produced, and often the harsh geometrical lines and shapes used in most. 

page 119

"Soviet Russia initiated programmes of propaganda which were designed to elicit support for the Revolution in a massive country populated by largely illiterate, peasant people."

Power of the Poster, Margaret Timmers, page 118

Power of the Poster, Margaret Timmers, page 118

1900-1920

Art and Photography in the early 20th century



During the earliest parts of the 20th century, 1900-1920, photography was growing ever more stronger. Artistic movements such as the Dada movement were also beginning to form. These years were also that in which Art was largely used for and against the first world war. 

Anne Brigman

"She is probably a hamadryad or classical tree nymph who is suffering bad fortunes of her host in the mountains of california. According to the old stories, hamadryads were tree spirits and they died when their trees decayed."

The Photography Book
PHAIDON
Page 69


Anne Brigman was well known for producing nude images such as this one here. She would use her friends, sisters and mother as models. One would believe that nude photography to this extent during this time would have come as quite a shock and have been disliked by many as it would have been seen as indecent. 


Although the photographer Anne Brigman and many other photographers whom produced work similar to hers were apart of an American group called "the Photo-Secession" similarities or influences can be found in art and advertisement from around the same time. 

"32.Carlo Dali 'Paris Tout Nu', France, c. 1900."
The Power of the Poster, Edited by Margret Timmers
Page 44


World War I

"Kitchener's distinctive face, military uniform and finger pointed directly at the viewer instigated upon thousands of men to make their way to recruitment offices to join and accept the King's shilling."

First World War Posters
Rosalind Ormiston
Foreword by Gary Sheffield
page 9




The poster was created by Alfred Leete and is one of the most famous posters of world war one. Even today with no war going on, you can see and feel the impact the poster has even just by looking at it in a textbook. It is very cleverly made.


Posters were possibly one of the most famous types of visual arts during these years in which the war was happening. An article calling for soldiers in the news paper, or spoken over the radio most likely won't have been as effective as what these kind of requirement posters will have. 




"Artists, designers and illustrators were commissioned by official committees to create propaganda material. The majority remain anonymous but the ranks included notable names too, such as.... and illustrator Alfred Bestall (1892-1986) - later to depict the much loved children's character Rupert Bear."

First World War Posters
Rosalind Ormiston
Foreword by Gary Sheffield
page 10

Along with eye catching colours and illustrations the text upon these artistic posters mean just as much if not more! The importance of getting a powerful message across, as you can image, would have been extremely difficult without the use of words. Following the "Your country needs you poster" similar techniques and wording were used. The concept of naming and shaming or even using posters to directly appeal to people. 

First World War Posters
Rosalind Ormiston
Foreword by Gary Sheffield, Page 21


Not only were posters aimed at men going to war, but also their wives. 
"Women of Britain say Go!" its very interesting to look at the difference in style of posters aimed at men and aimed at women. You can tell by the colours, style of text and objects painted in the posters that so much thought went into these posters as to how may they best work in attracting the target audience. A lot of the women's posters seem to remind me of almost Art Nouveao style paintings  whether that be the characters presented in the posters of the syle in which they have been painted or even just the style of the text used. 

The Medieval period

Christian/Celtic Europe

"With the arrival of St. Patrick in the 5th century CE, full-scale conversion to Christianity took place, and monasteries became the principal artistic centers."
http://www.missgien.net/celtic/art.html

Folio 114 recto from the Book of Kells; the arrest of Christ.

http://www.eccentricbliss.com/tag/book-of-kells/

Folio 188 recto from the Book of Kells; the beginning of the Gospel according to St. Luke.

http://www.eccentricbliss.com/tag/book-of-kells/

celtic art was very much influenced by the Christian religion, this can be clearly seen by these two examples just here. The first illustration is of Christ. Very particular characteristics of celtic art can be seen in this illustration in particular. Rich colours such as blues, reds and golds are very often used in celtic art. Another characteristic's which is well known in celtic art is intertwining shapes, like celtic knots, almost like plant vines. lastly, intertwining animals. 

In christ's hair you can see this typical intertwining style of celtic art, at the top of the illustration, the intertwining animals can be seen. 

The below image being again from the book of Kells, but a beginning page to a part of the gospel, just goes to show the importance of this religion. Imagine the time and effort would would have to take to create a piece as highly detailed as this. To myself the painting almost reminds me of royalty. The rich celtic golds, blues and reds can be seen in this illustration also. 

"Manuscripts of books of the Bible were embellished, or "illuminated," with decorative borders and lettering" http://www.missgien.net/celtic/art.html

Folio 34 recto from the Book of Kells; Chi-Rho page; introducing St. Matthew’s account of the Nativity of Our Lord Jesus Christ.

Again this exquisit style is used to present the begging of a chapter in this religious book. As these examples show typical examples of celtic art, it becomes clear that celtic art would not of been what it was without the influence of Christianity. 

The celtic era came around the ending to the fall of the Roman Empire. This is therefore when the country became Christian, after the fall of not only the Roman Empire, but obviously the Roman Catholic faith. 

Here is another example of Celtic Christan art from another book other than the book of Kells. Again you can see the extremely similar style in this books illustration.

http://www.britannica.com/EBchecked/media/4224/Interlace-patterns-of-the-initial-page-of-the-Gospel-According?topicId=341885

"Medieval manuscripts were usually produced by a team of scribes and illustrators. However, the entire Lindisfarne Gospels is the work of one man, giving it a particularly coherent sense of design. According to a note added at the end of the manuscript less than a century after its making, that artist was a monk called Eadfrith, Bishop of Lindisfarne between 698 and 721." http://www.bl.uk/onlinegallery/sacredtexts/lindisfarne.html