| |
Rezumat articol ediţie STUDIA UNIVERSITATIS BABEŞ-BOLYAI
În partea de jos este prezentat rezumatul articolului selectat. Pentru revenire la cuprinsul ediţiei din care face parte acest articol, se accesează linkul din titlu. Pentru vizualizarea tuturor articolelor din arhivă la care este autor/coautor unul din autorii de mai jos, se accesează linkul din numele autorului. |
|
| |
Rezumat: German Artists from Transylvania: Visual Propaganda and Charity in World War I (1914–1916). In WWI propaganda was discovered to be a powerful weapon. The Imperial and Royal War Press Office (Kaiserliche and konigliche Kriegspressequartier) acted as a PR authority of Austria-Hungary. Its Art Group (Kunstgruppe) was made up of painters, sculptors and photographers who had to find interesting motifs from the war scenes. German artists from Transylvania as Hans Eder and Ludwig Hesshaimer were officially assigned to the Art Group. Despite the fact that the members of the Art Group had to serve the propaganda machine of the army they belonged to, they created artworks of undeniably value. Artists also produced works which were sold for charity purposes, namely for supporting orphans and widows, invalids or other categories of war damaged. A special form of wartime fundraising in the Austro-Hungarian and the German Empire in WWI were Nail Men. They were wooden statues, of greater or lesser artistic value, usually knights in armour, into which nails were driven in exchange for donations. The first Nail Man was unveiled in Vienna on the 6th of March 1915. Shortly after, in Sibiu there was constituted a committee aiming at replicating the successful Viennese event. The statue of a medieval knight, designed by the architect Josef Bedeus von Scharberg and placed in the Great Square, was unveiled on the 1st of August. All the events and ceremonies in connection with Nail Men were hybrid actions, being both forms of charity, but also one of war propaganda.
Keywords: WWI, Artworks, War Propaganda, Charity, Nail Men, Vienna, Sibiu
|
|
