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The Static Representation of Movement in Art and War

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Propaganda and Hogarth's Line of Beauty in the First World War

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Abstract

The Static Representation of Movement in Art and War considers how the ability for Hogarth’s line of beauty to express movement bestows upon it metaphorical as well as literal connotations when viewed from propagandist perspectives, and its effectiveness therefore depends upon how productively the suggestion of that movement can be perceived by the viewer. This chapter examines experimentation in photographic processes capturing actual movement, including chronophotography and photodynamism, and which informed Futurist and Vorticist artists in their objective to create artworks demonstrating the technologically innovative. The line of beauty as a visual construct representative of this manifestation of literal and metaphoric movement is the mechanism by which these influences are deemed to have impacted upon pictorial propaganda, particularly that associated with the First World War.

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Notes

  1. 1.

    Bergson, H. L. (1910) Op. Cit. side note p. 14.

  2. 2.

    Ellul, J. (1973) Op. Cit. p. 31.

  3. 3.

    Hogarth, W. (1997) Op. Cit. p. 34.

  4. 4.

    Ibid. p. 33.

  5. 5.

    Gombrich, E. H. (1977) Op. Cit. p. 221.

  6. 6.

    Ibid. p. 191.

  7. 7.

    Marinetti, F. T. (2009c) The New Religion-Morality of Speed, Trans: Rainey, L. IN: Rainey, L. et al. (Eds.) Futurism: An Anthology New Haven, CT: Yale University Press 224–9 p. 228.

  8. 8.

    Ibid. p. 228.

  9. 9.

    Gombrich, E. H. (1977) Op. Cit. p. 217.

  10. 10.

    Eisenstein, S. (2010) Op. Cit. 2010 p. 59.

  11. 11.

    Dagognet, F. (1992) Etienne-Jules Marey: A Passion for the Trace Trans: Galeta, R; Herman, J. New York: Zone Books p. 138–40.

  12. 12.

    Humphreys, R. (1999) Futurism London: Tate Publishing p. 9–10.

  13. 13.

    Marinetti, F. T. (1972) Marinetti: Selected Writings edited by Flint, R. W. London: Secker & Warburg p. 82.

  14. 14.

    Virilio, P. (1986) Speed & Politics Trans: Polizzotti, M. New York: Semiotext(e) p. 61.

  15. 15.

    Armstrong, T. (1998) Modernism, Technology, and the Body Cambridge: Cambridge University Press p. 95.

  16. 16.

    Marinetti, F. T. (2008) Manifesto Concerning the Ethiopian Colonial War IN: Benjamin, W. The Work of Art in the Age of Mechanical Reproduction Trans: Underwood, J. A. London: Penguin Books Limited p. 36–7.

  17. 17.

    Nevinson, C. R. W. (1937) Paint and Prejudice London: Methuen Publishers p. 87.

  18. 18.

    Virilio, P. (1986) Op. Cit. p. 62, 151.

  19. 19.

    Deleuze, G; Guattari, F. (1988) A Thousand Plateaus: Capitalism and Schizophrenia Trans: Massumi, B. London: The Athlone Press p. 423.

  20. 20.

    Marinetti, F. T. (2009b) Manifesto of Futurist Dance, Trans: Rainey, L. IN: Rainey, L. et al. (Eds.) Futurism: An Anthology New Haven, CT: Yale University Press 234–9 p. 237.

  21. 21.

    Gaudier-Brzeska, H. (1981) Vortex Gaudier-Brzeska IN: Lewis, P. W. (Ed.) Blast: War Number London: John Lane In: Lewis, P. W. (Ed.) Blast 2 Santa Barbara: Black Sparrow Press 33–4 p. 34.

  22. 22.

    Ibid. p. 34.

  23. 23.

    Boccioni, U. et al. (2009a) Op. Cit. p. 49.

  24. 24.

    Ibid. p. 48.

  25. 25.

    Virilio, P. (1989) War and Cinema: The Logistics of Perception Trans: Camiller, P. London: Verso p. 3.

  26. 26.

    Deleuze, G; Guattari, F. (1988) Op. Cit. p. 422.

  27. 27.

    Gough, P. (2010) A Terrible Beauty: British Artists in the First World War Bristol: Sansom & Company p. 237.

  28. 28.

    Leed, E. J. (1979) No Man’s Land: Combat & Identity in World War 1 Cambridge: Cambridge University Press p. 105.

  29. 29.

    Cork, R. (1976) Vorticism and Abstract Art in the First Machine Age Volume 2: Synthesis and Decline London: Gordon Fraser p. 392.

  30. 30.

    Hogarth, W. (1997) Op. Cit. p. 3, 110.

  31. 31.

    Adam, H. C. (Ed.) (2010) Eadweard Muybridge: The Human and Animal Locomotion Photographs Trans: Heltay, H. Köln: Taschen GmbH p. 18.

  32. 32.

    Gombrich, E. H. (1977) Op. Cit. p. 13–4.

  33. 33.

    Ibid. p. 20.

  34. 34.

    Baudrillard, J. (1983) Op. Cit. p. 19.

  35. 35.

    Bragaglia, A. G. (2009) Futurist Photodynamism 1911 (first mentioned in an advertisement in Lacerba (Florence) 1 July 1913) Trans: Tisdall, C. IN: Apollonio, U. (Ed.) Futurist Manifestos London: Thames and Hudson Ltd. 38–45 p. 41.

  36. 36.

    Ibid. p. 41.

  37. 37.

    Ibid. p. 41.

  38. 38.

    Ibid. p. 45.

  39. 39.

    Boccioni, U. (2009b) Plastic Dynamism 1913 (12 December 1913: Lecture published in Lacerba (Florence), 15 December 1913) Trans: Brain, R. IN: Apollonio, U. (Ed.) Futurist Manifestos London: Thames and Hudson Ltd. 92–4 p. 94.

  40. 40.

    Bragaglia, A. G. (2009) Op. Cit. p. 38.

  41. 41.

    Braun, M. (1994) Picturing Time Chicago: The University of Chicago Press p. 316.

  42. 42.

    Bragaglia, A. G. (2009) Op. Cit. p. 39.

  43. 43.

    Ibid. p. 39.

  44. 44.

    Garelick, R. K. (2007) Electric Salome: Loie Fuller’s Performance of Modernism Princeton: Princeton University Press p. 140.

  45. 45.

    Armstrong, T. (1998) Op. Cit. p. 111–2.

  46. 46.

    Garelick, R. K. (2007) Op. Cit. p. 33.

  47. 47.

    Durham Peters, J. (1997) What Did Walter Benjamin See? Image Cultures 1890–1933: Beauty’s Veils: The Ambivalent Iconoclasm of Kierkegaard and Benjamin IN: Andrew, D. (Ed.) The Image in Dispute: Art and Cinema in the Age of Photography Austin: University of Texas Press 9–32 p. 13.

  48. 48.

    Boccioni, U. et al. (2009b) Futurist Paintings Technical Manifesto 1910 (published as a leaflet by Poesia (Milan), 11 April 1910. This English version from the catalogue of the ‘Exhibition of Works by the Italian Futurist Painters’, Sackville Gallery, London, March 1912) IN: Apollonio, U. (Ed.) Futurist Manifestos London: Thames and Hudson Ltd. 27–31 p. 27–8.

  49. 49.

    Boccioni, U. (2009a) Absolute Motion+Relative Motion=Dynamism 1914 (Advance extract from Pittura scultura futuriste, 15 March 1914) Trans: Brain, R. IN: Apollonio, U. (Ed.) Futurist Manifestos London: Thames and Hudson Ltd. 150–4 p. 152.

  50. 50.

    Barthes, R. (1993) Op. Cit. p. 4.

  51. 51.

    Ibid. p. 57.

  52. 52.

    Ibid. p. 57.

  53. 53.

    Dagognet, F. (1992) Op. Cit. p. 16.

  54. 54.

    Adam, H. C. (Ed.) (2010) Op. Cit. p. 12.

  55. 55.

    Bragaglia, A. G. (2009) Op. Cit. p. 43–4.

  56. 56.

    Ibid. p. 40.

  57. 57.

    Ibid. p. 40.

  58. 58.

    Ibid. p. 42.

  59. 59.

    Ibid. p. 43.

  60. 60.

    Lyotard, J.-F. (1984) The Postmodern Condition: A Report on Knowledge Manchester: Manchester University Press p. 78.

  61. 61.

    Ibid. p. 78.

  62. 62.

    Eisenstein, S. (2010) Op. Cit. p. 47, 65.

  63. 63.

    Kant, I. (2007) Op. Cit. p. 25.

  64. 64.

    Braun, M. (1994) Op. Cit. p. 264.

  65. 65.

    Ibid. p. 264.

  66. 66.

    Ibid. p. 277, 264.

  67. 67.

    Adam, H. C. (Ed.) (2010) Op. Cit. p. 15.

  68. 68.

    Garelick, R. K. (2007) Op. Cit. p. 6.

  69. 69.

    Braun, M. (1994) Op. Cit. p. 293.

  70. 70.

    Fagiolo Dell’arco, M. (1987) Balla: The Futurist Trans: Kunzle, M. Milano: Mazzotta p. 30.

  71. 71.

    Cork, R. (1976) Op. Cit. p. 334.

  72. 72.

    Armstrong, T. (1998) Op. Cit. p. 96.

  73. 73.

    Gombrich, E. H. (1977) Op. Cit. p. 221.

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    Georgina Williams

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Williams, G. (2016). The Static Representation of Movement in Art and War. In: Propaganda and Hogarth's Line of Beauty in the First World War. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-57194-6_4

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