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POSTER: GEBS (DATES UNKNOWN) ARBEITER WERKTÄTIGE. Circa 1930. 26x19 inches. Westdeutsche Bruchdruckwerkstatten, Dusseldorf.
GEBS (DATES UNKNOWN) ARBEITER WERKTÄTIGE. Circa 1930.
26 3/4x19 1/2 inches. Westdeutsche Bruchdruckwerkstatten, Dusseldorf.
Condition B+: restored lower right corner; restoration along sharp vertical and horizontal folds.
This double-duty political image calls on the working classes to vote for the KPD (Communist Party) and also calls on the same people to enlist their children in the "young Pioneers." Ernst Schneller, was a former teacher who rose in the ranks of the German Communist Party. An ideological leader of the KPD, especially involved with matters of education, Schneller is listed at the bottom of the poster as being responsible for its contents. He was sent to a concentration camp by the Nazi regime and was assassinated in Sachsenhausen in 1944. One generally tends to think of John Heartfield as the sole German source of anti-Fascist, pro-Communist photomontage propaganda during the 1920s and 1930s. Yet he was one of many artists within the avant-garde circles who were closely connected with the Soviet Union. This clear and efficient document is a fine example of the high level of German political photomontage work of the period.
26 3/4x19 1/2 inches. Westdeutsche Bruchdruckwerkstatten, Dusseldorf.
Condition B+: restored lower right corner; restoration along sharp vertical and horizontal folds.
This double-duty political image calls on the working classes to vote for the KPD (Communist Party) and also calls on the same people to enlist their children in the "young Pioneers." Ernst Schneller, was a former teacher who rose in the ranks of the German Communist Party. An ideological leader of the KPD, especially involved with matters of education, Schneller is listed at the bottom of the poster as being responsible for its contents. He was sent to a concentration camp by the Nazi regime and was assassinated in Sachsenhausen in 1944. One generally tends to think of John Heartfield as the sole German source of anti-Fascist, pro-Communist photomontage propaganda during the 1920s and 1930s. Yet he was one of many artists within the avant-garde circles who were closely connected with the Soviet Union. This clear and efficient document is a fine example of the high level of German political photomontage work of the period.
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May 7, 2007 1:30 PM EDT
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